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Scanned  from  the  collection  of 

The  Museum  of  Modern  Art  Library 

Coordinated  by  the 

Media  History  Digital  Library 

Funded  by  a  donation  from 

University  of  St  Andrews 

Library  &  Centre  for  Film  Studies 

Digitized  by  the  Internet  Archive 

in  2013 


Association  of  Cinematograph,  Television  and  allied  Technicians 

PRICE  6d. 


January  1957 

•  NO  NEED  TO  LOOK  TWICE  . . . 

.  ...  once  is  sufficient  to  see  the  noticeable  improvement  in  all  films  when  masked  printed 

by  Colour  Film  Services  Limited— Britain's  biggest  16  mm  Kodachrome  laboratory. 

22-25  PORTMAN  CLOSE  •  BAKER  STREET  ■  LONDON  •  W.l.        Telephone:   Hunter  0408-9 


January  1957 



In  view  of  the  film  legislation  now  before  Parliament  we  print  in  plB*©^  of  our  usual  editorial 
an  article  which  has  special  bearing  on  the  steps  needed  to  protect  British  Films 


THIS  month  and  next  will  see 
both  Houses  of  Parliament  once 
again  discussing  the  film  industry, 
and  in  particular  the  renewal  for 
another  ten  years  of  what  is  called 
the  Quota  Act. 

Why  do  we  need  a  Quota  Act  to 
protect  British  Films? 

Surely,  you  may  say,  we  have 
been  making  films  long  enough  in 
Britain  not  to  need  Parliamentary 
permission  to  do  so. 

Let  us  look  back  a  few  years — to 
1927  in  fact,  when  the  first  Quota 
Act  was  introduced.  At  that  time 
hardly  any  British  films  were  being 
made  at  all.  Hollywood  had  so 
captured  the  British  cinema  mar- 
ket during  and  following  World 
War  One  that  British  films  had 
practically  disappeared  from  the 

A  few  brave  souls  kicked  up 
such  a  fuss  by  public  meetings  and 
petitions  to  M.P.s  that  eventually 
Parliament  was  forced  to  take 
steps  to  ensure  that  some  British 
films  were  made  and  marketed. 

This  was  done  by  imposing  an 
obligation  on  all  importers  of 
foreign  films  to  make  a  certain 
number  of  British  films  (Renters' 
Quota),  and  a  similar  obligation  on 
all  cinemas  to  show  a  definite 
percentage  of  British  films  on  their 
screens   (Exhibitors'  Quota). 

"  Quota  Quickies  " 

The  Act  succeeded  in  its  main 
purpose.  Films  were  made.  Slowly 
the  industry  revived  under  the 
protection  that  had  been  given.  It 
was  also,  of  course,  the  era  of  the 
ill-famed  "Quota  Quickie" — a  term 
of  opprobrium  used  to  describe  a 
type  of  cheap  film  made  solely  to 
satisfy  legal  requirements.  Such 
films  were  often  put  on  the 
Renter's  shelf  immediately  they 
were  completed;  others  were  in- 
flicted on  the  public  who  rightly 
resented  such  inferior  entertain- 
ment and  gained  the  impression 
that  if  it  was  British  it  was  no 
good.  That  suited  the  Hollywood 
book  very  well. 

However,  the  Quota  Quickie  was 
largely  eliminated  ten  years  later 
when  Parliament  passed  an  amen- 
ded Act  which  imposed  a  minimum 


Ralph  Bond 

labour  cost  on  all  films  ranking 
for  British  Quota.  Although  cost 
can  never  be  the  arbiter  of  taste 
and  quality.  Renters  who  had  to 
expend  a  reasonable  amount  of 
money  soon  found  that  it  was 
better  business  in  the  long  run  to 
make  good  films. 

During  World  War  Two,  British 
films,  after  a  shaky  start,  really 
came  into  their  own,  and  roused 
the  admiration  of  the  whole  world. 
Any  lingering  resentment  on  the 
part  of  cinema  goers  towards  the 
home  product  rapidly  disappeared, 
and  for  the  first  time  our  films 
took  more  money  in  our  own 
cinemas  than  many  Hollywood 

Wave  of  Optimism 

When  the  War  ended,  there  was 
a  wave  of  optimism  for  the  future 
of  British  films,  and  in  1947  when 
the  Quota  Act  once  again  came 
before  Parliament  for  renewal, 
Renters'  Quota  was  dropped,  and 
the  Act  was  confined  to  the  obliga- 
tion of  the  exhibitors  to  screen  a 
percentage  of  British  films. 

Many  who  then  supported  the 
dropping  of  Renters'  Quota  have 
since  questioned  the  wisdom  of 
doing  so,  and  in  a  further  article 
we  shall  examine  the  arguments 
for  and  against  this. 

The  fact  has  to  be  faced,  how- 
ever, that  after  all  these  years 
since  1927,  Hollywood  films  still 
dominate  our  cinemas  to  the  extent 
of  seventy  per  cent.  Without  the 
protection  of  the  Quota  Act,  it  is 
most  likely  that  the  number  of 
British  films  produced  each  year 
would  rapidly  decline. 

That  is  why  the  film  legislation 
now  before  Parliament  is  so  vital 
to  every  one  of  us  who  wants  to 
see  an  expanding  film  industry. 

It  looks  as  if  the  Government  is 
trying  to  rush  its  legislation 
through  Parliament  without  ade- 
quate opportunity  for  amendment, 
and  many  amendments  are 
urgently  needed  to  ensure  that  the 
Act  works  better  for  British  films 
during  the  next  ten  years. 

Why  on  British  Films? 

For  instance,  the  conditions 
governing  the  definition  of  what  is 
a  British  film  need  tightening  up, 
to  avoid  a  number  of  abuses  which 
we  all  know  have  occurred  recently, 
when  films  made  abroad  with 
scarcely  any  United  Kingdom  tech- 
nicians have  nevertheless  obtained 
their   "  British  "    Quota   certificate. 

There  is  also  the  more  funda- 
mental point  which  A.C.T.T.  has 
raised.  Why  should  the  Quota  be 
on  British  films.  Surely  it  would 
be  more  logical  to  have  a  quota  on 
foreign  films,  thus  giving  our  own 
industry  a  chance  to  climb  out  of 
its  semi-colonial  status. 

So  please,  in  your  own  interest, 
watch  things  very  carefully  and 
be  prepared  to  see  or  write  to  your 
own  M.P.  and  get  him  to  support 
the  changes  that  the  film  Trade 
Unions  want. 

Your  own  job  may  be  at  stake. 



Editorial  Office: 
2  Soho  Square,  W.l 

Telephone:     GERrard   8506 

Advertisement   Office: 

5  and  6  Red  Lion  Sq.,  W.C.I 

Telephone:    HOLborn  4972 


January  1957 

A   Technician's  Notebook 


\  POLISH  engineer,  Jan  Anto- 
^*-  siewicz,  has  evolved  what 
appears  to  be  a  novel  solution  to 
the  problem  of  projecting  films  in 
a  normally  lit  room. 

The  conventional  matt  white 
screen  scatters  light  in  all  direc- 
tions through  an  angle  of  180°, 
which,  though  it  enables  spectators 
to  view  the  picture  on  the  screen 
from  even  the  most  acute  angles, 
is  wasteful  of  light  diffusing  it  in 
all  directions  beyond  the  range  of 
the  audience. 

To  make  the  picture  visible  on 
such  a  screen  either  the  auditorium 
must  be  darkened,  or  the  screen 

In  his  search  for  a  solution 
Antosiewicz  turned  to  the  ordinary 
mirror  which  reflects  light  at  the 
angle  at  which  it  strikes  the  mirror 
and  without  diffusing  it.  The  plane 
mirror  is  obviously  unsuitable  for 
using  as  a  cinema  screen  so  it  was 
the  convex  mirror  that  Antosiewicz 
used  as  the  basis  of  his  screen — 
millions  of  minute  convex  mirrors, 
each  mirror  measuring  0.54mm.  by 
0.18mm.,  their  rectangular  shape 
ensuring  the  diffusion  of  light  from 
them  to  the  occupied  space  of  the 
auditorium,  but  excluding  the  ceil- 
ing or  the  floor.  It  is  claimed  that 
the  coefficient  of  brightness  of  the 
picture  on  the  mirror  screen  is 
between  twenty  and  thirty  by  com- 
parison with  the  white  screen. 

The  article  from  which  the 
material  above  was  taken,  and 
which  was  kindly  placed  at  our 
disposal  by  the  Polish  Cultural 
Institute,  goes  on  to  say  that  to 
prevent  the  reflection  of  any  other 
surrounding  objects  in  the  screen, 
Antosiewicz  used  a  "  counter- 
screen  ",  a  black  cloth  spread  be- 
fore the  screen  at  such  an  angle 
to  the  screen  as  to  be  visible  from 
anywhere  in  the  auditorium  as  a 
uniform  black  sheet.  This  prob- 
ably means,  though  the  article 
does  not  make  it  clear,  that  the 
screen  would  have  to  be  first  of  all 
set  at  a  height  and  angle  which 
would  ensure  that  the  audience 
itself  does  not  produce  reflections 
in  it. 

The  tiny  reflectors  are  mass 
produced     in     pressed     aluminium, 

from  a  die  which  consists  of 
several  thousand  "  negatives  "  of 
reflectors,  arranged  at  regular  in- 
tervals. The  aluminium  plates, 
impressed  with  the  convex  reflec- 
tors, are  then  glued  on  to  a  large 



sheet    to    make    a    screen    of    the 
required  size. 

"  From  a  practical  standpoint 
the  electronic  recording  of  motion 
pictures  is  an  accomplished  fact  " 
says  Frederick  Foster  in  an 
article  in  the  American  Cinema- 
tographer.  He  points  out  that  no 
development  relating  to  motion 
picture  production  has  aroused 
greater  interest  than  that  which 
has  to  do  with  the  electronic  re- 
cording of  the  picture  image. 
Though  Bing  Crosby  Enterprises, 
followed  by  R.C.A.,  announced 
developments  of  such  systems 
several  years  ago,  no  practical 
equipment  has  been  put  on  the 
market  by  either  company. 

In  May  Ampex,  a  manufacturer 
of  magnetic  recording  equipment, 
demonstrated  their  Videotape  re- 
corder, a  complete  record  and 
playback  unit  capable  of  recording 
and  reproducing  commercial  mono- 
chrome TV  material.  The  machine 
was  designed  specifically  for  the 
purpose  of  television  programme 
delay,  and  Ampex  have  said  that 
it  will  be  first  employed  for  this 
purpose  only. 

Addressing  the  convention  of  the 
SMPTE  in  New  York  and  referring 
to  speculations  about  the  use  of 
Videotape  equipment  for  producing 
motion  pictures,  R.  H.  Snyder  of 
Ampex  said,  "  Any  speculation  on 
the  replacement  of  the  35mm. 
camera  by  Videotape  is,  in  our 
belief,  foolish  at  this  time."  He 
thought  that  a  director  might 
shoot  simultaneously  on  film  and 
tape,  using  the  tape  as  an  imme- 

diate pictorial  playback.  Videotape 
picture  quality  was  not  comparable 
with  ordinarily  good  original  film 
and  not  even  remotely  comparable 
with  the  newer  large  negative 

The  Ampex  system  records  both 
picture  and  sound  on  a  single  two- 
inch  wide  tape.  Picture  quality  is 
.'aid  to  be  considerably  better  than 
that  obtained  with  current  kine- 
scope techniques. 

The  recorder  works  on  the  same 
principles  as  are  used  in  a  stan- 
dard sound  tape  recorder.  But  to 
obtain  the  4-megacycle  response 
needed  for  picture  recording  the 
tape  speed  would  have  to  be  2,000 
inches  a  second;  at  that  speed  a 
reel  of  tape  14  inches  in  diameter 
would  run  for  only  29  seconds. 

Ampex  have  developed  a  system 
which  works  at  a  tape  speed  of 
15  inches  per  second,  by  using  a 
magnetic  head  assembly  of  4  heads 
mounted  on  a  drum  which  rotates 
at  a  high  speed  recording  trans- 
versely across  the  tape  instead  of 
longitudinally.  This  gives  an  effec- 
tive tape  speed  sufficient  to  record 
and  reproduce  the  4-megacycle 
band  width. 

The  sound  is  recorded  normally 
along  one  edge  of  the  magnetic 

Thrillarama  is  the  latest  devel- 
opment of  wide  screen  procedure. 
According  to  limited  information 
available  at  this  time  the  salient 
facts  are  : 

The  photographic  system,  using 
two  cameras  side  by  side  with  an 
interlocking  device,  registers  scenes 
on  separate  35mm.  negatives, 
using  full  aperture  on  both.  Later 
the  two  films  are  synchronised  for 
showing  on  a  theatre  screen  at  a 
ratio  of  approximately  31.  to  one. 
It  is  claimed  that  both  close-ups 
and  long  shots  are  photographed 
without  distortion  in  presentation. 
Sound  track  is  on  a  separate  reel. 

The  cameras  were  made  in 
France,  but  the  photographic 
system  was  designed,  engineered 
and  built  by  Raphael  G.  Wolff 
Studios  in  Hollywood. 

January  1957 


In  shooting,  the  left  camera 
photographs  the  right  side  of  the 
action,  and  the  right  camera  photo- 
graphs the  left  side.  In  projection, 
the  reels  are  cross-beamed  on  to 
the  screen. 

May  and  Baker  announce  the  in- 
troduction of  a  new  2 J  oz.  pack  of 
'  AMFIX ',  the  ultra-rapid  liquid 
fixer.  Intended  for  those  who  may 
require  a  small  expendable  con- 
tainer, the  new  pack  is  made  of 
plastic  and  is  similar  in  appearance 
to  the  sachets  used  for  certain 
brands  of  shampoo.  Price  of  the 
21  oz.  "  Empak  "  of  '  Amfix  '  is 

From  the  Fountain  Press  we 
have  received  Numbers  11  and  12 
in  the  Cinefacts  series;  they  are 
"  Tricks  with  Movies ",  by  Denys 
Davis,  and  "  Processing  Amateur 
Movies  ",  by  R.  H.  Bomback.  They 
are  practical  and  clearly  written 
little  books  aimed  at  the  amateur, 
and  selling  for  the  very  modest 
price  these  days  of  half-a-crown 
each.  "  Tricks  with  Movies  "  des- 
cribes in  a  straightforward  way, 
with  diagrams,  how  the  amateur 
can  produce  the  trick  effects  that 
lie  within  the  scope  of  his  appara- 
tus; e.g.,  fades  and  dissolves,  slow 
and  speeded-up  motion,  animation, 
superimposition,  making  and  using 
a  simple  matte  box,  etc.  The  pro- 
fessional also  might  pick  up  an 
idea  or  two.  Did  you  know  that 
four  spoonfuls  of  Epsom  salts 
mixed  with  half  a  glass  of  beer 
and  painted  on  the  windows  of 
your  room  will  give  you  a  realistic 
hoar  frost  effect? 

The  purpose  of  "  Processing 
Amateur  Movies ",  as  the  author 
points  out,  is  firstly  to  explain  the 
mechanism  of  both  negative  and 
reversal  processing,  and,  secondly, 
to  show  how  the  amateur  may, 
with  suitable  equipment,  undertake 
such  simple  operations  as  title 
development  and  after  treatment 
of  finished  films.  It  does  NOT  en- 
courage the  amateur  to  set  up  his 
own  processing  laboratory.  The 
photographic  illustrations  are  good, 
and  all  the  main  processing 
formulae  are  given  at  the  end  of 
the  book. 

INDEX  FOR  1956 

The  index  for  the  Cine  Techni- 
cian for  1956  will  be  published  as 
a  supplement  to  the  February 

Book  Review 


"  LAND  OF  BLUE  SKY  ",  by  Ivor 
Montagu.      (Dobson,   25/-). 

On  Wednesday  Ivor  Montagu 
will  be  at  an  Executive  Committee 
or  General  Council  meeting,  the 
next  he  may  well  be  the  other  side 
of  the  world  bent  upon  one  of  his 
many  specialities  from  peace  to 
table-tennis.  So  no  great  surprise 
was  caused  by  his  announcement 
that  he  was  off  to  spend  a  holiday 
in  the  Gobi  Desert.  But  as  lazing 
is  not  Ivor's  idea  of  a  holiday,  he 
finished  up  with  material  for 
"  Land  of  Blue  Sky ",  a  portrait 
of  modern  Mongolia. 

Those  acquainted  with  Ivor's 
style  will  find  this  book  true  to 
form.  Just  as  in  a  written  report 
of,  say,  a  Conference  he  has 
attended,  nothing  either  important 
or  trivial  is  omitted.  He  bursts 
with  information,  filling  in  the 
extras  with  copious  parentheses, 
footnotes  and  appendices,  resulting 
in  his  inimitable  style — compre- 
hensive, meaty,  apparently  shape- 
less but  supremely  intriguing.  You 
feel  that  not  a  single  word  which 
could   be   said  remains  unsaid. 

I  read  "  Land  of  Blue  Sky " 
during  the  height  of  the  Hungarian 
revolt  and  the  first  thought  which 
occurred  to  me  was,  whether  one 
calls  Mongolia  a  dependency  or  ally 
of  the  Soviet  Union — a  current 
argument  within  the  United 
Nations — the  two  countries  have 
managed  their  affairs  with  each 
other   in   a   way   which    could   well 

be  a  model  elsewhere.  There  are 
no  Soviet  troops  in  Mongolia,  the 
only  Russians  there  are  experts 
filling  special  needs,  such  as 
doctors.  The  relationship,  econo- 
mic and  otherwise,  is  based  on  a 
practical  basis  and,  as  a  result,  a 
proud  independent  people  as  the 
Mongols  are,  have  a  mutually 
satisfactory  and  friendly  modus 
vivendi  with  their  big  Russian 

But  "  Land  of  Blue  Sky  "  is  as 
much  a  travel  book  as  anything 
else.  Few  Western  visitors  have 
been  to  Mongolia  and  indeed  Ivor's 
wife  is  only  the  second  English 
woman  visitor  ever.  For  me,  per- 
haps because  I  was  more  in  the 
mood  for  bright  hospital  reading, 
the  appeal  of  the  book  was  its 
fascinating  portrayal  of  the 
Mongols  and  their  country  from 
thirty-five  years  ago,  when  they 
were  a  million-strong  nomad  race 
roaming  over  600,000  square  miles, 
up  to  today,  when  in  a  most  rapid 
transformation  they  have  de- 
veloped into  a  country  attuned  to 
and  helping  create  the  benefits,  if 
that  is  the  right  word,  of  modern 
industrial  progress. 

I  am  sure  that  most  readers  of 
"  Land  of  Blue  Sky  "  will  wish  on 
putting  the  book  down  that  an 
opportunity  would  present  itself  to 
visit  Mongolia  to  learn  more  about 
this  exotic  land  and  its  hospitable 
people.  If  that  be  so,  the  book  can 
need  no  better  recommendation. 


A.C.T.  Films9  New  Production 

Following  the  completion  of 
Suspended  Alibi  for  J.A.R.F.I.D., 
A.C.T.  Films  has  gone  into  pro- 
duction with  another  subject  for 
British  Lion. 

This  time  it  is  a  comedy  titled 
Second  Fiddle,  and  it  went  on  the 
floor  at  Shepperton  on  January 
14th,  with  Bob  Dunbar  producing 
and  Maurice  Elvey  directing. 

The  stars  are  Adrienne  Corri, 
Thorley  Walters  and  Lisa  Gastoni. 
Arthur    Graham    is    lighting,    with 

Howard     Connell      as      Production 

Second  Fiddle  is  an  original 
story,  set  in  an  advertising  office, 
and  raises,  among  other  things,  the 
right  of  married  women  to  work 
and  receive  equal  pay ! 


The  new  A.C.T.T.  badges  and 
brooches  can  be  obtained  from 
Head  Office.  Badges  2/-,  brooches 
2/4,  post  free. 


January  1957 


This  article  expresses  the  personal 
opinion  of  the  writer,  which  differs 
considi  rably  from  the  standpoint 
officially  taken  on  the  subject  by 
A.C.T.T.  We  print  it  because  we 
h,liin  that  Film  and  TV  Techni- 
cian should  be  a  forum  for  con- 
troversy as  well  as  a  vehicle  for 
conveying  official  news  and  views. 
The  Editor  will  be  glad  to  hear 
what  readers  think  about  this  con- 
1 1  m  (  rsial  subject. 

A  recent  A.C.T.T.  press  state- 
ment on  the  I.T.A.  Government 
grant,  in  which  the  quality  of  pro- 
grammes was  criticised,  has  led  to 
the  impression  in  some  quarters 
that  A.C.T.T.  was  accusing  the 
commercial  TV  companies  of  pro- 
ducing worthless  and  trivial  pro- 
grammes. This  has  stirred  up  con- 
siderable controversy,  both  as  to 
the  correctness  of  the  implied 
criticism  and  as  to  whether  even 
if  it  were  true  it  was  expedient  for 
the  Union  to  express  it. 

At  the  TV  Producer-Directors' 
Section  meeting  on  December  21st 
this  subject  was  given  a  rather 
warm  airing.  Opinions  seemed  to 
be  divided  as  to  just  how  trivial 
the  programmes  were  and  how 
far  the  B.B.C.  had  sunk  in  com- 
petitive pursuit  of  the  mass 

Comparative  estimates  of  the 
cultural  value  of  Jungh  Jim  as 
against  Ask  Pickles,  or  the  relative 
value  of  Fabian  of  the  Yard  and 
Dragnet  are  entertaining  but 
rarely  instructive.  One  point  of 
view  which  so  far  does  not  seem 
to  have  been  expressed — and  one 
that  in  the  writer's  estimation 
could  be  considered — is  that  such 
matters  might  be  said  to  be  out- 
side the  province  of  trade  unionism. 

It  is  widely  held  that  a  Trad.' 
Union  exists  for  one  purpose  only 
— to  ensure  fair  working  conditions 
for  its  members.  Should  these  con- 
ditions be  affected  by  the  actual 
work  produced  then  it  is  un- 
doubtedly right  for  the  union  to 
consider  this  "end  product".  But 
not  otherwise.  The  union  acting 
for  the  makers  of  those  hideous 
plaster  doggies  would  scarcely 
venture  to  criticise  them  from  an 

artistic  point  of  view.  If  the  plastei 
is  difficult  or  dangerous  to  work, 
that  is  another  matter.  But  surely 
the  individual  trade  unionist 
should    restrict    his    artistic    judg- 


Vivian  Milroy 

ment     to     refusing     to     buy     the 
doggies  once  they  are  made? 

And  surely  the  same  rule  should 
apply  in  the  entertainment  busi- 
ness. Take  those  popular  weekly 
panel  shows  "  Do  you  trust  your 
kids  "  and  "  Take  your  pick  of 
your  wife's  money  ".  If  the  work 
of  the  technicians  involved  is 
more  dangerous  than  Panorama  or 
more  arduous  than  The  Brains 
Trust  no  one  would  deny  the 
Union's  right  to  express  an  official 
opinion.  But  can  it  really  do  so  if 
the  working  conditions  are  more  or 
less  the  same — or  at  anv  rate  are 

unaffected  by  the  artistic  content 
of  the  programme?  A  camera- 
man's job  on  The  Tempest  is  not 
fundamentally  different  from  his 
colleagues  on  Noddy.  In  fact,  from 
a  trade  union  point  of  view  a  bad 
programme  employing  a  lot  of 
technicians  is  better  than  a  good 
programme  employing  only  a  few. 

To  suggest  that  it  is  not  part  of 
a  trade  union's  province  to  criticise 
the  artistic  standard  of  its  mem- 
bers' output  is  not  to  say  that  the 
individual  members  should  not  do 
so.  We  are  all  citizens  as  well  as 
trade  unionists;  viewers  as  well  as 
technicians.  And  if  the  standard 
of  some  programmes  is  thought  to 
be  inclining  slightly  towards  a  new 
low  of  footling  and  futile  inanity 
the  weapons  of  a  free  democracy 
are  there  for  the  using.  He  can 
write  to  the  newspapers  and  in- 
flame public  opinion;  he  can  per- 
suade his  M.P.  to  raise  the  matter 
in  Parliament;  he  can  bombard  the 
guilty  organisation  with  letters; 
and  he  can  even — if  he  gives 
twenty-four  hours'  notice  to  the 
Metropolitan  Police  —  march  an 
army  of  like-thinking  democrats 
from  Golden  Square  to  Kingsway 
by  way  of  Wardour  Street  waving 
insulting  banners  and  shouting 
rude  words.  But  if  after  all  this 
he  is  offered  a  job  on  that  same 
"  Take  your  pick  of  your  wife's 
money  ",  as  a  good  trade  unionist 
no  one  will  blame  him  for  accept- 
ing it  or  even  for  liking  it.  It  is 
strange  how  differently  it  can 
appear  from  the  inside. 


The  laboratories  meeting,  reported  in  our  last  issue, 
VOtea  for  the  new   agreement 

I  Picture   bj    Chi  istophei 

January  1957 


seems  to  consist  of  a  large  ruby 
and  several  tatters  of  silk.  Con- 
cerning the  suitability  of  this  Mr. 
Irving  Allen  is  reputed  to  have 
said :  "  What  nature  has  given, 
who  are  Warwick  to  take  away?" 
A  random  survey  taken  in  War- 
dour  Street  shows  a  majority 
opinion  for  Miss  Ekberg  in  the 
House  of  Lords  and  Lord  Lucas 
in  films. 

inth    Bar oo   Marx 
as  Sir  Isaac  New- 
ton .  .  . 

FOR  our  Basic  and  Countryman 
Shop  the  struggle  for  more  in- 
telligent, higher  quality  films  is 
unending,  but  their  battle  against 
"  monster  movie  "  mentality  must 
have  suffered  an  early  reverse  in 
1957,  judging  by  a  recent  an- 
nouncement from  Warner  Brothers. 

At  their  Hollywood  Studios 
Warners  are 
making  The  Story 
of  Mankind.  To 
prove  that  ambi- 
tion, at  least,  is 
not  dead,  the 
period  covered  in 
this  epic  ranges 
from  the  Neoli- 
thic Age  to  the 
present  day.  Its 
cast  includes 
Ronald  Colman  as 
The  Spirit  of  Man, 
Edward  Everett 
Horton  as  Sir 
Walter  Raleigh 
and,  to  crown  it 
all,  Harpo  Marx 
as  Sir  Isaac  New- 
ton. Peter  Lorre 
and  Cesar  Romero 
are  also  cast  but  no  parts  men- 
tioned. An  imagination  fevered  by 
the  foregoing  details  suggests 
Gilbert  and  Sullivan. 

Wolves  ? 

A  statement  with  which  many 
members  will  sympathise  comes 
from  Miss  Barbara  Woolworth, 
one  of  the  fabulous  Woolworth 
family,  in  an  interview  with  Daily 
Express  critic  David  Lewin.  Miss 
Woolworth,  head  of  the  company 
which  made  Silken  Affair,  said : 
"  I  know  there  are  a  lot  of  dragons, 
or  wolves  as  you  call  them,  around 
in  the  film  business.  But  I  think 
I  can  handle  them." 

Communist  Inspired? 

Says  Mr.  Mike  Todd,  producer 
of  Round  the  World  in  Eighty 
Days,  of  his  film's  distribution : 
"  I  will  ban  the  sale  of  popcorn 
...  it  will  be  the  first  non-popcorn 
picture  in  America.  I  have  nothing 
against    popcorn — I    am    not    un- 

American    about    popcorn.     It   just 
isn't  a  popcorn  picture." 

Location  Tip 

There's  always  a  tough  battle  to 
raise  the  location  allowance  from 
the  basic  five  guineas.  It's  prob- 
ably an  occupational  reflex  of 
many  producers  to  cross  their 
hearts  and  swear  that  this  sum 
will  more  than  cover  members' 
expenses  in  this  or  that  country. 

In  this  connection  an  intriguing 
comment  comes  from  a  hotel  guide 
given  to  me  by  a  member  recently 
back  from  a  West  Indies  location. 
The  document  describes  the  shuffle- 
board,  aquaplane  and  water-skiing 
facilities  and  has  a  somewhat 
vague  reference  to  the  Social 
Hostess  who  will  be  glad  to  make 
your  holiday  pleasant  and  enjoy- 

For    those    at    work    and    on    a 
location  allowance  the  most  telling 
item    is    "  Tips   on    Tipping ".     The 
suggestions    range    from    15s.    per 
week  for  the  bedroom  maid  to  35s. 
for  the  waiters.   One  and  ninepence 
per  bag  is  the  appropriate  for  bell- 
men.      For      the 
rest  —  "A   small 
token    tip    is    al- 
ways acceptable  " 
to     the     Head 
Waiter  and  Cap- 
tains.      At      this 
level  it  seems  un- 
likely    that     any 
roughnecks   could 
sneak  through  the 
gilded    doors,    but 
a   severe    note    is 
struck     to     avoid      "   smaU   token 
this     eventuality. 
"  On  Thursday  and  Saturday  even- 
ings formal  dress  is  requested  for 
dinner.      Men's    jackets     and    ties 
must  be  worn  after  6  p.m." 

Ekberg  or  Bust? 

Warwick  Films  have  been  earn- 
ing themselves  some  free  and, 
presumably,  welcome  publicity  in 
the  House  of  Lords.  Protesting  at 
the  advertising  posters  used  for 
Zarak,  Lord  Lucas  referred  par- 
ticularly to  a  tantalising  portrait  of 
Miss  Ekberg,  in  which  her  costume 

By  Wire  .  .  . 

Here  is  some  news  from  Holly- 
wood that  may  interest  our  far- 
from-overpaid  members  in  Nas- 
creno  House.  National  Screen  Ser- 
vice is  an  associate  of  a  company 
of  the  same  name  in  the  U.S.A., 
and  negotiations  for  a  two  year 
agreement  have  just  been  com- 
pleted over  there.  The  new  agree- 
ment gives  an  additional  $1,560  per 
year  to  the  lowest  paid,  and  $1,040 
to  those  on  the  maximum.  The 
lowest-paid  scriptwriters  get  $330 
a  week,  the  highest  $350 — or 
roughly  £125  per  week.  It  is  worth 
noting  that  quite  a  few  technicians 
working  for  N.S.S.  here  don't  even 
get  the  rate  equivalent  to  the 
raise  given  to  the  lowest-paid  in 
the  U.S.  True,  straight  exchange 
values  don't  tell  the  full  story — but 
it  looks  to  me  as  if  National  Screen 
coffers  could  be  opened  on  this 
side  of  the  Atlantic  as  well. 



Cinema  attendances  during  the 
third  quarter  of  1956  totalled  293 
million,  nearly  2  per  cent  above  the 
corresponding  quarter  of  1955,  and 
gross  takings  were  11  per  cent  up 
at  £28,576,000,  the  Board  of  Trade 
announced  recently. 

"The  bad  weather  in  the  summer 
no  doubt  contributed  to  this  in- 
crease, which  reversed  the  down- 
ward trend  of  attendances  for  the 
first  time  since  the  similarly  poor 
weather  of  summer  1954,"  the 
report  says. 

Of  the  47  cinemas  closed  during 
the  third  quarter  most  had  between 
251  and  750  seats.  Nearly  all 
regions  were  affected,  the  north- 
western region  most  of  all. 


January  1957 


I  WENT  to  China  together  with 
Lennox  Robinson,  the  Irish  play- 
wright, as  the  guest  of  the  Actors 
and  Actresses  Association  and  the 
Writers'  Association,  to  speak  at 
the  Bernard  Shaw  Centenary  cele- 
brations at  Peking  and  Shanghai. 
Inevitably  we  saw  a  good  deal  of 
the  theatre  and  I  was  also  afforded 
the  opportunity  of  visiting  all  their 
film  studios,  watching  them  at 
work  and  meeting  most  of  their 
artists  and  directors. 

Only  Three  Studios 

There  are  at  the  moment  only 
three  film  studios  in  all  China.  Of 
these  the  biggest  is  at  Chiang- 
chun,  about  seven  hundred  miles  to 
the  north-east  of  Peking,  in  the 
heart  of  what  used  to  be  Man- 
churia, but  is  now  called  the  North 
East  Province.  Here,  tucked  under 
the  wing  of  Soviet  Russia,  are  all 
the  major  industries — coal  mining, 
iron  and  steel  foundries,  one  auto- 

are  on  the  payroll  all  the  year 
round  as  employees  and  are  given 
two  weeks  holiday  with  pay  every 
year  and  a  pension   scheme  which 

Entrance  to  Studio 

mobile  factory  turning  out  their 
first  tractors.  1  have  read  in  the 
press  here  that  these  factories 
have  been  placed  here  so  close  to 
Russia  for  security  and  protection. 
But  this  is  nonsense,  for  the  coal 
and  iron  are  found  in  this  part  of 
the  country,  and  the  Japanese  had 
already  laid  the  foundations  of 
these  industries,  including  films, 
before  the  present  government 
took  over. 

The  second  largest  film  studio  is 
at  Shanghai,  and  the  third  at 
Peking.  At  each  one  of  these  three 
there  is  a  stock  repertory  com- 
pany of  actors  and  actresses  who 


R.  J.  Minney 

provides  for  their  retirement.  They 
are  given  accommodation  near  the 
studio  in  blocks  of  buildings  where 
they  have  either  a   small   flat   for 

Lighting   in    Peking 

themselves  and  their  families  or 
just  a  room  to  live  in.  I  have 
visited  a  number  of  these  homes 
and  found  them  most  comfortable, 
if  a  little  restricted. 

There  are  excellent  reading 
rooms  in  a  central  block,  as  well 
as  facilities  for  table  tennis  and 
other  indoor  games.  In  the  grounds 
there  is  basket  ball,  a  current 
craze  with  the  Chinese,  swimming 
in  some  cases,  and  other  forms  of 
open-air  sport.  At  every  studio 
there  are  nurseries  for  children, 
rest  houses  for  the  artists,  and 
sanatoria.  Their  health  and  welfare 
are  well  looked  after. 

The  studio  at  Chiang-chun  is  a 
large  modern  block,  very  Western 
in  its  style  of  architecture,  un- 
relieved  here  by  a  Chinese  super- 
structure, with  turned  up  ends, 
placed  cither  at  the  corners  of  th< 
building  or  above  the  central  en- 
trance, such  as  they  have  on  most 

of  their  other  modern  buildings, 
whether  Government  offices  or  fac- 

There  are  six  stages  here,  one 
of  them  fairly  large,  but  only 
about  a  third  the  size  of  the  big 
stage  at  MGM  at  Elstree;  the 
other  five  are  of  medium  size, 
approximating  to  the  old  Stage 
Three  at  Gainsborough  Studio  at 
Lime  Grove,  where  so  many  of  us 
worked  before  they  were  taken 
over  for  television. 

They  use  papier  mache  a  great 
deal.  It  seems  to  take  the  place  of 
plaster.  The  walls  are  papier- 
mached,  with  struts  of  bamboo  at 
the  back  for  strengthening  and 
support;  all  the  decorations,  coats 
of  arms,  statuettes,  crowns  and 
coronets  are  made  of  it,  and  most 
cleverly  painted.  They  are  in  con- 
sequence very  light  and  easy  to 
move  about. 

Old  Mitchells 

All  the  cameras  are  old  Mitchells. 
some  of  them  tied  up  with  bits  of 
string.  We  went  through  that  our- 
selves during  the  war  and  our 
films  were  none  the  worse  for  it. 
Here,  too,  they  seem  to  make-do  ex- 
tremely efficiently.  All  the  gantne.- 
are  made  of  wooden  scaffolding, 
with  wooden  steps  and  galleries. 
The  dolly  rails  are  of  wood  too. 
The  cameras  appeared  to  move 
smoothly,  but  I  noticed  that  they 
had  to  be  most  carefully  manipula- 
ted. A  further  complication  was 
that  the  studio  floor  was  very 
uneven  and  the  rails  had  to  be  laid 
with  pads  here  and  there  to  get 
them  straight. 

The  atmosphere  behind  the 
scenes  was  exactly  as  here.  They 
allocated  approximately  the  same 
number  of  technicians  for  camera, 
sound,  etc.  as  are  required  I 
for  crews,  and  I  discovered  that  :n 
the  higher  grades  the  technicians 
are  far  better  paid  than  the  actors 
and  actresses. 


When  we  come  to  wages  we 
must  remember  that  the  standard 
of  living  is  a  great  deal  lower  in 
China  than  it  Is  here.  The  average 
minimum  earnings  in  that  countrv. 

January  1957 


taking  industry  as  a  whole,  and  in- 
cluding the  earnings  of  the  agri- 
cultural workers,  is  about  £2  a 
week.  They  manage  to  live  pretty 
well  on  it,  for  prices  are  not  high. 
The  cost  of  living  is,  in  fact,  ex- 
ceedingly low.  The  consumer  goods 
I  saw  in  the  shops  cost  far  less 
than  they  do  over  here.  A  pair  of 
cotton  trousers,  for  example,  is 
only  fifteen  shillings  for  the  best, 
and  the  rent  for  a  one-roomed  flat, 
with  a  small  kitchen  and  lavatory, 
is  only  nine  pence  a  week. 

At  the  studios  the  bottom  wage 
for  artists  was  £2. 10s.  a  week.  The 
top  grade  performers  get  £7  to  £8 

a    week.      The     technicians     start 
higher  and  rise  higher. 

There  are  no  stars  at  all.  The 
star  system  is  not  operated  there. 
Before  I  learned  of  this,  when  I 
asked  who  the  stars  were,  they 
looked  at  me  in  wonder.  They  had 
no  idea  what  I  was  talking  about. 
They  asked  me  to  explain.  I  men- 
tioned Marilyn  Monrose,  but  there 
was  not  the  slightest  show  of 
recognition  from  the  group  of 
directors  and  technicians  around 

"  Who  is  Marilyn  Monroe?" 

In  a  moment  I  got  the  question 
that  you  would  only  expect  to  get 
from  a  judge  in  the  law  courts  in 
England.  "  Who  is  Marilyn  Mon- 
roe?" one  of  them  asked.  Now 
you  who  haven't  been  asked  it 
might  think  it  is  the  easiest  thing 
in  the  world  to  answer.  But  try 
answering  it  to  a  group  of  Chinese 
film  men  through  an  interpreter, 
without  even  a  photograph  of  the 
girl    to    help    you!     Not    that    the 

picture  would  have  helped  much. 
Their  standards  are  different  and 
the  shapes  are  different.  Busts,  for 
instance,  are  out.  I  suppose  I 
should  say  bust  are  in — well  in,  for 
the  dresses  reveal  no  cleavage  and 
the  chests  are  dressed  as  flat  as 
they  can  be.  The  girls  look  none 
the  less  attractive  for  that. 

No  Comparative  Standards 

The  Chinese  now  have  no  com- 
parative standards  in  films,  either 
technically  or  otherwise,  for  they 
don't  get  very  much  from  the 
West.  Hamlet  was  the  last  British 
film  they  got  and  they  will  still  in 
raptures  over  it  when  they  talked 
to  me.  They  were  expecting  to  get 
shortly  Great  Expectations,  and 
were  looking  forward  eagerly  to 
seeing  it.  "Can't  you  get  your  people 
to  send  us  more  films?"  they  asked. 
"  We  would  welcome  it."  I  passed 
this  on  to  the  Rank  Organisation 
on  my  return  and  I  hope  something 
comes  of  it.  Other  film  companies 
should  also  take  note. 

Their  sets  are  very  realistic.  One 
film  I  saw  being  made  was  set  in 
a  coal  mine.  It  was  as  good  as  any 
we  have  built  on  the  set  here. 
Their  backcloths  I  thought  not 
quite   as   good   as   ours.     But   their 

and  others  for  musical  films — for 
as  long  as  twelve  years. 

At  Chiang-chun  the  resident 
repertory  company  of  film  actors 
and  actresses  numbered  143  mem- 
bers. Occasionally,  especially  when 
they  are  making  the  film  version 
of  a  stage  play,  they  borrow  one 
or  two  of  the  stage  cast;  but  for 
the  most  part  they  prefer  to  rely 
on  their  own  resources  because,  in 
the  case  of  this  studio  particularly, 
the  theatre  in  Peking  is  many  hun- 
dreds of  miles  away. 

The  Shanghai  studio,  on  the 
other  hand,  relies  on  the  theatre 
not  only  for  players  but  for  its 
directors.  They  flit  from  one  to 
the  other.  It  is  quite  common  there 
for  a  stage  director  when  he  moves 
to  the  studio  to  take  many  of  his 
stage  artists  with  him. 

Much  Longer  to  Make 

At  Chiang-chun  all  the  stages 
were  being  used  for  feature  films, 
each  running,  as  ours,  for  approxi- 
mately ninety  minutes.  But  the 
films  take  much  longer  than  ours 
to  make.  I  was  told  that  the  aver- 
age time  for  making  a  feature  film 
is  from  six  to  eight  months,  for 
studio  shooting  alone.  They  are 
aware  that  this  is  inordinately  long 

standard  of  acting  is  very  high. 
It  ought  to  be.  Attached  to  every 
studio  is  a  school  for  acting.  The 
pupils  begin  young  and  are  kept  at 
it  for  years,  some  of  them — as  in 
the  case  of  Peking  opera  trainees 

and  are  trying  to  cut  down  on 
time.  "  We  are  making  twelve 
films  this  year,  which  will  give  us 
an  average  of  six  months  a  piece 

(Continued  on  page  10) 



January  1957 

on  the  six  stages.  We  are  aiming 
to  double  this  and  eventually  to 
step  the  figure  up  to  thirty  films 
a  year—  before  very  long,"  they 
told  me. 

tures,  running  time  about  ten 
minutes.  I  saw  some  of  these. 
They  were,  in  the  main,  comedies 
based  on  traditional  stories. 

In    Shanghai    the   studio  has   six 


chiefly  screen  presentations  of  the 
traditional  Peking  operas.  It  is 
these  operas  that  are  usually  done 
in  full  colour  and  very  good  the 
colour  is  too,  for  they  use  Agfa 
colour,  which  is  obtained  from  the 
Soviet  Union. 

Attached  to  each  of  these  studios 
there  are  training  schools  for  tech- 
nicians, a  big  scenario  department, 
a  panel  of  script  readers,  and 
groups  of  welfare  workers  to  keep 
a  close  and  watchful  eye  on  work- 
ing conditions. 

Plans  were  ready  while  I  was  in 
China  for  the  building  of  five  fur- 
ther studios — at  Canton,  Chung- 
king, Kunming,  Sian  and  Urumchi. 
Two  of  these  will  be  in  operation 
this  year.  The  Chinese  are  very 
fond  of  films.  There  are  large, 
modern,  well-equipped  cinemas  in 
all  the  towns  with  swarms  of 
people  going  in  all  the  time.  The 
finished  product  from  these  studios 
is  good;  in  many  instances  I  found 
the  standard  very  high.  With  the 
great  fillip  being  given  to  film  pro- 
duction it  would  not  surprise  me 
if  the  Chinese  film  industry  cap- 
tured before  long  the  entire  film 
market  in  Asia. 

They  have  two  theatres  at 
Chiang-chun.  Both  were  being 
used  for  dubbing  when  I  was  there. 
They  dub  about  eighty  imported 
films  each  year.  Most  of  these  are 
from  Czechoslovakia  and  Poland. 
Only  a  handful  come  in  from 
France  and  Italy,  and  occasionally 
there  is  one  from  Japan,  for  the 
restriction  that  keeps  the  Ameri- 
cans from  sending  in  their  films 
applies  apparently  to  some  extent 
to  Japanese  films  too. 

Four  Small  Stages 

The  Peking  studio,  which  has  only 
four  small  stages,  does  not  take 
quite  as  long  to  make  films.  The 
average  time  there  is  much  nearer 
our  own  and  approximates  to 
about  thirteen  weeks  for  a  feature 
length  picture.  The  working  hours 
here,  as  at  the  other  studios,  is 
from  8  a.m.  to  12  noon,  then  two 
hours  off,  and  from  2  o'clock  until 
five — a  seven-hour  day.  On  Satur- 
days they  finish  at  four  and  work 
only  six  hours,  making  a  total  of 
forty-one  hours  per  week,  for  Sun- 
day is  a  holiday.  There  are  two 
additional  studios  in  Peking — one 
for  Newsreels  and  the  other  for 
Documentaries.  At  the  latter  they 
make    their    comedy    cartoon    pic- 

stages,  as  at  Chiang-chun,  but  the 
stages  are  somewhat  smaller.  Both 
here  and  in  Peking  they  have  made 
films  in  colour,  but  at  their  chief 
studio  they  were  only  just  pre- 
paring to  make  their  first  colour 

Their  feature  films  are  of  two 
types — straight  dramas  or  come- 
dies (and  the  Chinese  have  a  rich 
sense  of  humour,  very  akin  to  our 
own)-  and     musicals,     which     are 


The  cover  still  and  pictures  on 
pages  9  and  10  are  shots  from  a 
film  being  made  during  R.  J. 
Minnev's    visit    to    China. 

January  1957 




T^HROUGH  my  letter-box  at  this 
*-  time  of  year  comes  an  abun- 
dance of  brochures  advertising 
wonderful  holidays  in  foreign 
countries,  and  I  love  to  spend 
hours  studying  them,  because 
foreign  travel  has  always  inter- 
ested me.  Just  recently,  though, 
I  received  some  brochures  about 
some  foreign  film  industries  and 
these  have  held  me  fascinated  in 
much  the  same  way.  They  came 
from  Japan  and  Italy. 

Two  arrived  from  Japan,  and 
they  make  interesting  contrasts, 
because  the  larger,  glossier  one  is 
from  the  Motion  Picture  Associa- 
tion of  Japan,  which  represents 
five  of  the  six  major  film  com- 
panies, and  the  smaller  one — dup- 
licated on  cheap  paper — was  sent 
out  by  one  of  the  smaller  indepen- 
dent producers,  Dokuritsu  Eiga 


A  while  ago  I  reported  that  the 
Japanese  colour  processes  were 
being  pushed  out  of  their  own 
home  market  by  the  American 
Eastmancolour  process.  Startling 
confirmation  of  this  Americanisa- 
tion  of  the  Japanese  film  business 
is  seen  in  the  films  made  by  the 
five  major  companies  in  1956. 
From  the  figures  they  give,  it 
appears  that  these  producers  make 
over  300  features  a  year,  and  they 
give  details  of  the  thirty  best  ones 
of  1956  (which  probably  includes 
all  those  made  in  colour).  Eleven 
of  the  best  features  were  in  East- 
mancolour, and  one,  Madame 
Butterfly,  an  Italian-Japanese  co- 
production,  was  made  in  Techni- 
color. Not  one  was  listed  in 
Fujicolour  or  Koni-colour,  the 
Japanese  colour  processes.  The 
same  is  true  of  the  short  films 
listed  in  the  year's  production. 

Far  more  adventurous  is  the  in- 
dependent Dokuritsu  Co.,  which 
has  made  its  first  children's  film 
in  Koni-colour,  a  six-reeler  of  the 
fairy-tale  by  Samuel  Marshak,  the 
noted  Soviet  author,  called  Twelve 
Months,  which  scored  a  great  hit 
on  the  stage  with  Tokyo's  children. 

The  big  Japanese  producers  give 
an  interesting  short  history  of 
their  country's  film  industry — since 
1897,  when  the  first  film  was  shown 
there,  to  the  present  day.  An  in- 
teresting aftermath  of  Fascism  is 
their   mistrust  of   Government   in- 

tervention in  the  film  industry; 
these  sober  business  men  say  that 
Government  control  of  production 
and  film  censorship  prior  to  1945 
obstructed  the  growth  of  the 
Japanese  industry,  and  they  refer 


Christopher  Brunei 

to  the  present  state  of  affairs, 
under  which  Government  interven- 
tion is  all  but  ended,  as  "  the  Fifth 
Freedom — Freedom  of  the  Screen." 

Turning  to  a  booklet  from  Italy, 
"  The  Situation  and  the  Problems 
of  Public  Entertainments  in  Italy," 

Twelve  Months 

published  by  Lo  Spettacolo,  I  find 
the  same  mistrust  of  the  Govern- 
ment taking  a  hand  in  the  affairs 
of  the  film  industry.  The  writer, 
Antonio  Ciampi,  is  very  scornful 
of  a  proposal  to  help  film  produc- 
tion by  a  Treasury  rebate  scheme, 
which  appears  to  have  similarities 
with  our  own  most  helpful  Eady 
Scheme.  The  reason  he  rejects 
State  aid  is  an  historical  one,  too; 

under  Italian  Fascism  there  were 
a  number  of  taxes  levied  for  defi- 
nite purposes,  such  as  lighting  the 
streets,  poor  relief  and  for  the  un- 
employed, and  these  were  much 
resented  by  the  Italian  people. 
Therefore,  he  argues,  if  Entertain- 
ment Tax  were  used  to  assist 
Italian  film  production  it  would  be 
transforming  the  tax  into  one  of 
the  hated,  obsolete  taxes. 

Strange  as  this  may  sound  to  us. 
it  is  a  point  of  view  that  evidently 
arises  from  the  Italians'  experien- 
ces, and  as  such  ought  to  be 

Unlike  Britain,  Italian  cinema- 
going  is  on  the  increase,  though 
they  have  their  own  crisis  in  pro- 
duction. Something  that  we  both 
have  in  common  is  the  difficulty  in 
conquering  foreign  markets,  par- 
ticularly the  American.  The  book- 
let was  written  before  the  impor- 
tant agreement  between  the  Bri- 
tish Film  Producers'  Association 
and  the  Italian  Producers  was 
concluded,  and  so  the  system  of 
especially  favourable  relations  be- 
tween two  nations  is  not  men- 
tioned. Briefly,  this  is  a  method 
of  trading,  whereby  two  countries 
agree  to  grant  each  other  conces- 
sions— in  the  case  of  Britain  and 
Italy,  Italy  grants  British  films 
concessions  over  the  "  Dubbing 
Tax  "  and  Britain  guarantees  cir- 
cuit bookings  to  a  number  of 
Italian  pictures. 

It  is  a  means  of  gently  easing 
out  the  Americans  from  their 
dominant  position  in  both  coun- 
tries— and,  naturally,  the  Ameri- 
cans have  protested  vigorously 
against  the  deals  that  the  B.F.P.A. 
has  been  making  with  Italy  and 
France  along  these  lines. 

It  seems  to  me  that,  while  not 
imitating  the  methods  such  film- 
producing  countries  as  Japan  and 
Italy  adopt  to  help  their  native 
industries,  we  should  learn  to 
understand  their  methods  to  see  if 
there  are  ways  in  which  we  can 
co-operate  to  our  mutual  benefit. 




MARCH  9th  &  10th,  1957 

12  FILM    &    TV    TECHNICIAN 

General  Council  in  Session 

January  1957 


THE  main  items  considered  this 
-*-  month  were  the  24th  Annual 
Report,  which  will  go  to  all  mem- 
bers for  the  annual  general  meet- 
ing on  March  9  and  10,  1957,  and 
the  tabling  of  amendments  to  re- 
solutions that  had  been  submitted 
by  Shops  and  Sections. 

Owing  to  the  shortage  of  time 
left,  only  one  item  of  the  Execu- 
tive's report  to  the  meeting  was 
considered,  namely  the  endorse- 
ment of  proposals  for  increases  in 
salaries  of  Head  Office  staff. 

It  was,  therefore,  agreed  to  give 
the  Executive  authority  to  proceed 
on  the  basis  of  its  report  on  all 
other  matters  in  the  report;  some 
of  the  main  items  covered  are 
given  below. 


The  Executive  were  advised  of  the 
meeting  with  representatives  of 
the    Parliamentary    Labour    Party 

Films  Committee,  and  the  Acting 
General  Secretary  stated  that  all 
the  other  Unions  responsible  for 
the  Trade  Union  Policy  Pamphlet 
had  been  informed  of  A.C.T.T.'s 
action  and  a  letter  had  been  re- 
ceived from  the  E.T.U.  indicating 
their  agreement  with  the  action 
taken  and  expressing  appreciation 
at  having  been  kept  informed.  The 
Executive  authorised  the  Legis- 
lation Committee  to  continue  the 
highest  level  pressure,  utilising  all 
necessary  means  which  should  in- 
clude personal  contacts  with  one 
or  two  of  the  M.P.s  who  have 
always  been  friendly  to  A.C.T.T. 
in  addition  to  the  Films  Committee 
of  the  Parliamentary  Labour 
Party.  The  Executive  to  be  kept 
informed  of  developments. 

PANIES: The  Shorts  Committee 
has  been  very  concerned  with  TV 
companies    who    are    undercutting, 

so  prejudicing  reputable  units  from 
getting  contracts,  and  it  appeared 
that  the  A.S.F.P.  were  also  in- 
terested in  this  matter.  It  was 
recommended   to  the   Executive: 

1.  That  a  letter  be  sent  to  the 
Advertising  Agencies  remind- 
ing them  of  our  agreement 
and  of  the  importance  of 
maintaining  standards  of 

2.  That  we  should  seek  a  meet- 
ing with  the  A.S.F.P.  with 
the  following  points  in  mind: 

(a)  Agencies  should  be  re- 
quired to  disclose  to  the 
contractor  the  name  of 
the  production  company. 

(b)  A  quota  on  foreign 

(c)  Joint  representations  to 
the  Programme  Con- 

{continued  on  page   1 3) 




Excellent    Prospects 

Please  apply  by  letter  to: 
Studio  Manager 


10a    SOHO   SQUARE 

GERrard     7681-2-3 

W.  I 


January   1957 

Guide  to  British  Film  Makers 


Year   of  Production:     1955. 

Studio:    M.G.M.  Elstree. 

Laboratory:    Technicolor  Ltd. 

Producing  Company :  Coronado  Produc- 
tions (England)  Ltd. 

Producer:    John  R.   Sloan. 

Stars:  Pier  Angeli,  Phil  Carey,  Dennis 
Price,   James  Hayter. 

Director:     Rude   Mate. 

Camera  Department:  Lighting  Camera- 
man, Wilkie  Cooper:  Camera  Opera- 
tor, Gus  Drisse;  1st  Camera  Assistant 
(Focus),  Mike  Wilson:  Other  Camera 
Assistant,  Mark  Hyams;  2nd  Camera 
Operators,  Ian  Struthers,  Peter  All- 

Sound  Department:  Recordist  (Mixer). 
Sash  Fisher:  Sound  Camera  Operator, 
Harold  Clark:  Boom  Operator,  John 
Streeter;  Other  Assistants  (Main- 
tenance), Michael  Basselt  ;  Dubbing 
Crew,  J.  B.  Smith,  W.  Carr,  C.  Jones. 
J.    Bramall. 

Art  Department:  Art  Director,  Wilfred 
Shingleton ;  Assistant  Art  Director, 
John  Hoesli:  Draughtsman,  Kenneth 
Tate;  Dress  Designer,  Julia  Squire. 

Editing  Department ;  Editor.  Ray  Poul- 
ton;  Assembly  Cutter  and  1st  Assis- 
tant, Valerie  Leslie;  Other  Assistant. 
Peter  Keen;  Dubbing  Editor,  Winston 

Production  Department:  Production 
Manager  and/or  Unit  Production 
Manager,  R.  L.  M.  Davidson;  1st 
Assistant  Director,  Gus  Agosti;  2nd 
Assistant  Director,  Jeremy  Summers; 
3rd  Assistant  Director,  Peter  Len- 
nard;  Location  Manager,  Juanito 
Solorzano;  Continuity,  Angela  Allen; 
Production  Secretary,   Sheila  Neal. 

Stills  Department:  Still  Cameraman. 
Eric  Gray. 

Special  Processes:  Tom  Howard 
(Model),   E.   Bennett.   D.    Manning. 

Publicity  Director:     Catherine   O'Brien. 


Year  of  Production  :    1955. 

Studio:     National    Studios,    Elstree. 

Laboratory:    Denham  Laboratories  Ltd. 

Producing  Company:  G.H.W.  Produc- 
tions Ltd. 

Producer:  Church  and  Chapel  Films 
Ltd.   (i/c  Production:    Jas.  B.  Sloan). 

Stars:  Mervyn  Johns,  Adrienne  Corri. 
Emrys  Jones. 

Director:    Norman  Walker. 

Scenarists:  Lawrence  Barrett  from  an 
original  story  by  J.  Arthur  Rank  and 
R.  Noel  Evans. 

Camera  Department:  Lighting  Camera- 
man, Lionel  Banes:  Camera  Operator, 
Harold  Haysom;  1st  Camera  Assis- 
tant (Focus),  Derek  Whitehurst : 
Other    Camera   Assistant,    Ken    Claik. 

Sound  Department:  Recordist  (Mixer), 
Dave  Howells;  Sound  Camera  Opera- 
tor, Michael  Bassett;  Boom  Opera- 
tor. George  Paternoster;  Dubbing 
Crew.  Maurice  Askew,  Bernard 
Childs,  George  Lewis. 

Art  Department:  Art  Directors,  George 
Provis,  Cedric  Dawe. 

Editing  Department:  Editor.  Duncan 
Spence:  1st  Assistant.  Terrv  Hine: 
Other  Assistants.  Moira  Finney 
Dubbing   Editor,   Duncan   Spence. 

Production  Department:  1st  Assistant 
Director.  Pat  Morton:  2nd  Assistant 
Director,  Dave  Tomblin;  Continuity. 
Majorie  Round. 

Stills  Department:  Still  Cameraman. 
Cyril   Stanborough. 

Music:    Henry  Reed. 


Year  of  Production:     1956. 

Studio:    Bray. 

Laboratory:    Olympic   Kine  Labs. 

Producing  Company:  Hammer  Film 

Producer:    Anthony  Hinds. 

Stars:  Dean  Jagger,  Edward  Chapman. 
Leo  McKern. 

Director:    Leslie  Norman. 

Scenarist:    Jimmy  Sangster. 

Camera  Department:  Lighting  Camera- 
man, Gerald  Gibbs;  Camera  Operator, 
Len  Harris;  1st  Camera  Assistant 
(Focus).  Harry  Oakes ;  Other  Camera 
Assistant,  Michael  Rutter;  Second 
Camera  Operator.   John  Reid. 

Sound  Department:  Recordist  (Mixer), 
Jock  May;  Sound  Camera  Operator, 
Michael  Sale;  Boom  Operator,  Jim 
Perry;  Dubbing  Crew,  Anvil  Films. 
Beaconsfield;  Sound  Maintenance, 
Charles  Bouvet. 

Art  Department:  Art  Director,  Edward 
Marshall;  Draughtsman,  Don  Mingaye. 

Editing  Department :  Editor,  James 
Needs;  1st  Assistant,  W.  Bouvet; 
Dubbing  Editor,   A.   Cox. 

Production  Department :  Production 
Manager  and/or  Unit  Production 
Manager.  Jimmy  Sangster;  1st  Assis- 
tant Director,  Chris  Sutton;  2nd 
Assistant  Director,  Roy  Stevens;  3rd 
Assistant  Director,  Hugh  Harlow: 
Continuity,  June  Randall;  Production 
Secretary,  Margaret  Quigley. 

Stills  Department:  Still  Cameraman, 
Tom  Edwards. 

Special  Processes:  Trick  Work,  Bowie 

Publicity   Director:     Bill   Batchelor. 


Year  of  Production:    1956. 

Studio:    Nettlefold,   Walton-on-Thames. 

Laboratory:     Denham    Laboratories. 

Producing  Company:  Cipa  Productions 

Producer:    Robert  S.  Baker. 

Production  Supervisor:  Ronald  C. 

Stars:     Dale   Robertson,    Lois   Maxwell. 

Director:    Henry  Cass. 

Scenarists:  Norman  Hudis.  Alfred 

Camera  Department:  Lighting  Camera- 
man, Eric  Cross;  Camera  Operator, 
Desmond  Davis:  1st  Camera  Assis- 
tant (Focus).  Manny  Wynn ;  Other 
Camera  Assistant,  Ken'  Goodman: 
Second  Camera  Operator,  Eric 

Sound  Department:  Recordist  (Mixer), 
Fred  Ryan;  Sound  Camera  Operator. 
Aubrey  Lewis:  Boom  Operator.  Bill 
Baldwin:  Dubbing  Crew,  Anvil  Films 
Crew — Beaconsfield;  Sound  Mainten- 
tance,    Dennis  Arundell. 

Art  Department :  Art  Director,  Arthur 
Lawson;  Assistant  Art  Director  and 
Draughtsman,    Maurice   J.    Pelling. 

Editing  Department:  Editor.  Henry 
Richardson:  1st  Assistant,  Roy 
Norman;  Dubbing  Editor,  Henry 

Production  Department:  Production 
Manager,  Charles  Permane;  1st 
Assistant  Director,  Clive  Midwinter- 
2nd  Assistant  Director.  Ted  Sturgis- 
Continuity.  Barbara  Thomas;  Pro- 
duction  Secretary,    Elizabeth   Carr. 

Stills  Department:  Still  Cameraman 
Frank  Bellingham. 


Year  of  Production:    1956. 

Studio:    Shepperton  Studios. 

Laboratory:    Humphries. 

Producing  Company:  Remus  Films 

Producer:    Jack  Clayton. 

Stars:  Peggy  Mount,  Cyril  Smith, 
Ronald  Lewis,   Shirley  Eaton. 

Director:    Gordon  Parry. 

Scenarists:  Philip  King,  Falkland  L. 

Camera  Department:  Lighting  Camera- 
man, Douglas  Slocombe;  Camera 
Operator,  Jeff  Seaholme;  1st  Camera 
Assistant  (Focus),  Gerald  Fisher; 
Other  Camera  Assistants,  Ronald 

Sound  Department:  Recordist  (Mixer). 
Peter  Handford :  Sound  Camera 
Operator,  J.  Smart ;  Boom  Operator, 
Bill  Cook;  Dubbing  Crew.  R.  Jones, 
P.   Cunningham,   B.   Hopkins. 

Art  Department:  Art  Director,  Norman 
Arnold;  Draughtsman,  W.  Hutchin- 

Editing        Department:  Supervising 

Editor.  Ralph  Kemplen;  Editor,  Stan 
Hawkes ;  1st  Assistant.  Alban 
Streeter;  Other  Assistant,  John 

Productit  Department:  Production 
Manager.  Raymond  Anzarut ;  1st 
Assistant  Director,  Buddy  Booth;  2nd 
Assistant  Director,  David  Bracknell; 
3rd  Assistant  Director,  Otto  Plashkes: 
Continuity.  Doreen  Francis;  Produc- 
tion   Secretary,    Doris   Prince. 

Stills  Department:  Still  Cameraman, 
Eric  Gray. 

Special  Processes :  T.  M.  Brian  Langley 
(Hired    from    Pinewood    Studios). 

Publicity  Department :  Publicity  Direc- 
tor,   Lilanna   Wilkie. 


Year  of  Production:    1956. 

Studio:    Nettlefold  Studios. 

Laboratory:     Rank   Laboratories. 

Producing  Company:  A.C.T.  Films 

Producer:    John  Gossage. 

Stars:  Tom  Conway,  Elizabeth  Sellars. 
Eunice    Gayson,    Freda    Jackson. 

Director:    Terence  Fisher. 

Scenarists:  Ivor  Montagu  and  Max 

Camera  Department:  Lighting  Camera- 
man, Desmond  Dickinson;  Camera 
Operator,  Brian  Rhodes ;  1st  Camera 
Assistant  (Focus),  D.  Lewiston : 
Other  Camera  Assistant,  John  Shine- 

Sound  Department:  Recordist  (Mixer), 
Wally  Day;  Sound  Camera  Operator, 
Ray  Raynham:  Boom  Operator.  D. 
Somerset;  Dubbing  Crew,  R.C.A.. 
Hammersmith:  Maintenance.  Charles 

Art  Department :  Art  Director.  Allan 
Harris:  Draughtsman,  David  Butcher. 

Editing  Department:  Editor,  Peter 
Taylor:  1st  Assistant.  Peter  Miller; 
Other    Assistant,    R.    Love. 

Production  Department:  Production 
Manager.  Fred  Swann;  1st  Assistant 
Director.  Rene  Dupont :  2nd  Assistant 
Director,  Charles  Hammond;  3rd 
Assistant  Director.  Dennis  Hall: 
Continuity,  Pauline  Roberts;  Produc- 
tion  Secretary,   Sallv  Rich. 

Stills  Department:  Still  Cameraman. 
Dick  Cantouris. 

Publicity  Department:  Publicity  Direc- 
tor.  Horace  Beck. 


January   1951 


i  ( in-  o)  Production:    1956. 

Studio:     M.G.M.   Studios. 

Laboratory :    Technicolor. 

Producing        Company:         Hemisphere 

Films  Ltd. 

Producer:     Adrian    D.    Worker. 

Stars:  Cornel  Wilde,  Donna  Reed,  Leo 
Genn,  Ron  Randell. 

Director  George  Marshall.  (Location 
Retakes      Ken  Hughes). 

Scenarists:  George  Levitt  and  Richard 

Camera  Department:  Lighting  Camera- 
man. Freddie  Young;  Camera  Opeia- 
tor.  John  Harris;  1st  Camera  Assis- 
tant (Focus),  Peter  Allwork;  Other 
Camera  Assistants,  W.  Byatt,  G. 
Elliott  R.  Gibbings;  Second  Camera 
Operator,  H.  Smith;  Second  Camera 
Lighting,  Eric  Cross. 

Sound  Department:  Recordist  (Mixer), 
Charles  Knott;  Sound  Camera 
Operator,  John  Clennell;  Boom 
Operator,  P.  Lacy;  Other  Assistant. 
W.  Howell  (Maintenance);  Dubbing 
Crew,  J.  B.  Smith,  P.  T.  Jones, 
.1.    Brammell,    W.    Carr. 

Art  Department:  Art  Director.  Elliot 
Scott;  Assistant  Art  Director,  Scott 
McGregor;  Draughtsmen,  R.  Bream, 
V  Gray,  W.  H.  Wolveridge;  Set 
Dresser,    P.    James. 

Editina        Department:  Supervising 

Editor,  Ernie  Walter;  Assembly 
Cutter,  Ted  Jeffries;  1st  Assistant. 
Maureen  Lvndon-Haynes;  Other 
\  sistant,  E.  Sibley;  Dubbing 
Editors,    Roy    Baker,    P.    Culverwell. 

Production  Department:  Production 
Manager  and/or  Unit  Production 
Manager,  John  Workman;  1st  Assis- 
tant Director.  Basil  Keyes;  2nd 
Assistant  Director,  D.  Twiddey:  3rd 
Assistant  Director,  D.  Hall;  Con- 
tinuity. Angela  Allen;  Production 
Secretary,  Jean  Clarkson;  Casting 
I'M.,  ior.    Paul   Sheridan. 

Stills  Department:  Still  Cameraman, 
Arthur  Evans. 

Spa  nil  Processes:     E.   Taylor   (Models). 

Publicity         Department  Publicity 

Director,    Leonard    Samson. 

Special  Effects:  i/c  T.  Howard;  T. 
Lane,    G.    Oman    (Back    Projection  i. 


year  o)   Production:    1955/56. 

Studio:    Shepperton. 

Laboratory ;    Humphries. 

Producing  Company:  Wessex  (Finan 
rial  Set-up:  Ian  Dalrvmple  Advisors 
Ltd. I. 

Producer:      Anthony     Squire    with     Ian 
I  >alrymple. 

Stars  George  Baker,  Stanley  Baker, 
Harrj    Andrews.   Michael   Medwin. 

Direi  tor:    Julian  Aymes. 

Scenarists:  Ian  Dalrymple,  Anthony 
Squire,   Ronald  Spi  m  ei 

i  amera  l><  part mi nt  :    Lighting  Camera 
man.        Freddie       Francis;       Camera 
Operator,        Arthur       Ibbetson;        1st 
Camera      Assistant       (Focus).      Derek 
Browne;      other     Camera     Assistant 
i  Lonald  Anscombe. 

Sound   Department:     Recordist    (Mixer), 
A.  G.  Ambler:   Sound  Camei  ..   0] 
i"i       I  »ei  i  k     Tate ;     Boom     ( >perator, 
P    Dukelow;  Other  Assistant.  E.  Vin- 
cent;   Dubbing    Crew,    Red    Law,   Bob 

1/'    Department:     Art    Director,    Cedrii 
Dav  \: ■  i.  tant     Art     Director.     W. 

Hill.  Inn    ..ii      Draught    men.    F     Wilson. 

A.     M      Woolai  d .     I  >ress     i  Desij 
Win  dr.  .i.e.   John    McCorry. 

irtment:       Editor. 

Hunt;      Assembly      Cutter.      M.      I'     rl 

1st     Assistant.    John     Poyner;    Othei 
Assistant.     Eric     Brown     (Dubbing), 

Production  Department:  Production 
Manager-  and/or  Unit  Production 
Manager.  W.  Kirby;  1st  Assistant 
Din.  i.. i,  Ronald  Spencer;  2nd  Assis- 
tant Director,  David  Bracknell;  :iid 
Assistant  Director,  Peter  Parsons; 
Continuity,  June  Randall;  Production 
Secretary,  Ella  Wylie. 

stills  Department :  Still  Cameraman, 
Norman  Hargood. 

Special  Processes:  Si  <  nic  Artist,  Basil 
Mannin;   Model  Shots,  Wally  Veevers. 

Publicity  Department:  Publicity  Direc- 
tor,  Joy  Raymond. 


\<ur   of  Production:     1955-56. 

SI  ml  n>:     British   Lion,    Shepperton. 

Laboratory :    Humphi  ies. 

Producing  Company:    I.F.P.   Limited. 

Producer.    John  Stafford. 

Sims:  Rossano  Brazzi,  Glynis  Johns, 
Robert   Morley  and   Tony  Britton. 

Director:     Ken  Annakin. 

Sci  am  ist :    G.  Green. 

Camera  Department:  Lighting  Camera- 
man, Georges  Perinal;  Camera 
Operator,  Alan  Hume;  1st  Camera 
Assistant  (Focus),  Godfrey  Godar; 
Other  Camera  Assistants,  Denis 
Lewiston.  John  Shinerock. 

Smtiiil  Department:  Recordist  (Mixer). 
Bert  Ross;  Sound  Camera  Operator. 
W.  E.  Webb;  Boom  Operator,  Ken 
Ritchie;  Dubbing  Crew,  Red  Law, 
Paddy  Cunningham;  Sound  Main- 
tenance;   Norman   Bolland. 

Art  Department:  Art  Director,  John 
Howell ;  Assistant  Art  Director, 
Peter  Murton;  Draughtsman,  R. 
Breem ;  Dress  Designer,  Len 

Editing  Department:  Supervising 
Editor,  Jean  Barker;  1st  Assistant. 
Marcel  Durham;  Other  Assistant. 
Martin  Crump;  Dubbing  Editor, 
Vernon  Messenger. 

Production  Depart  mi  nt  :  Production 
Manager,  Jack  Martin;  1st  Assistant 
Director,  Dennis  Bertera;  2nd  Assis- 
tant Director.  John  Merriman:  3rd 
Assistant  Director,  John  Kerrison; 
Continuity,  Yvonne  Axworthy;  Pro- 
duction    Secretary,    Sheila    O'bonnel. 

stills  Department:  Still  Cameraman. 
Raj    Hearne. 

Special  Processes:  Matte  Shots — Wally 
Veevei  s. 

Publicity  Department:  Publicity  Direc- 
tor, Victor  Betts. 

/  ...  nt  ion  ;    Monte  Carlo. 

Eastman    Colour    CinemaScope 



1  <  i/i    <ii  Production  :     1956. 

studio      Rotherhithe. 

/  nt, m  atory  .    Ka  ■■ 

Producing  Company     Realist  Film  Unit 

Prodn,  i  i       Ba    il   Wright. 
stars:    Gladys   Young,    Sam   Ci 

Director:     John    Durst. 

S< .  nin  is/      .John   Eldridge. 

Camera  Department      Lighting  Cam. 
man,   Adi  .leakms ;   Camera  Opt  r; 
tor,     Bill    i  rxlej  .     1st    Cam.  ra    Assis- 
tant   (Focus),   Stanlej    Fairhall;  Other 

Camera       Assistant.      Charles      Hasler. 
Sound  Department      Recordi  I    (Mixer), 

'Li  i  \     Cot  tel  ,     Sound    Camera    (  (p 

tor,    Ken    i  ioddard      Boom    <  >perator, 
Peri  \     Britten;     Dubbing    Crew,    Ken 
i  'am.  i  ..ii   and   Anvil    Films    Cr<  w. 
Art  I >i  !"ii  ■  mi  nt      Art   1  )ii  ei  tor,   Bei  nai  d 
i  ..ii 

Di  pal  tmi  nt  Editor.  Jatnes 
Clark  i  t  Assistant,  Deveril  Good- 
nian    Othei    Assistant,  Ernest  Xerrl. 

Production  Depart  mi  nt  :  Production 
Manager  and/or  Unit  Production 
Mana-.i  i'h\,  Ki .  .  .1  man  lsi  Assis- 
tant Director,  Gordon  Murray ;  2nd 
Assistant  Director,  Betty  Crowe;  3rd 
Assistant  Director,  George  Wilkinson; 
Continuity.  Gladys  Reeve;  Production 
Secretary,   Anne   Krish. 

Spinal  1jio,issis  Howie  and  Margutli 
(Travelling  Matte). 


i  i  ar  of  Production  .    1956. 

studio:     British   National. 

Laboratory:     Denham. 

Producing  Company:  J.  G.  &  R.  B. 
Wainwright   Limited. 

Producer:     George    Maynard. 

Stars:  Jack         Warner,         Kathleen 


Director:    Vernon   Sewell. 

Scenarist:    R.  F.  Delderrield. 

Camera  Department:    Lighting  Camera- 
man,   Basil    Ennnott:    Camera    Opera- 
tor, Gerry  Turpin;   1st  Camera  Assis 
tant      (Focus).      Brian     West :     Other 
Camera  Assistant.   Eric   Robinson. 

Sound  Department:  Recordist  (Mixer), 
Bill  Bulkley:  Sound  Camera  Operator, 
Peter  Matthews;  Boom  Operator. 
Dave      Drinkwater;      Dubbing     Ci  •  ■•■. 

F.     Turtle,     I-!.     Coldwell 

Art  Department:  Art  Director.  Duncan 
Sutherland;  Assistant  Art  Director, 
Harry  White. 

Editing  Department :  Editor.  P.  R. 
Johnson:    1st    Assistant,    Olive   Magill. 

Production  Department:  Prodm  I  ion 
Manager  and/or  Unit  Production 
Manager.  "Freddie"  Pearson;  1st 
Assistant  Director,  Denis  John 
2nd  Assistant  Director,  Eric  Rattray; 
Continuity,  Betty  Forster;  Produc- 
tion Secretary,   Ann  Stansbor. 

Stills  Department:  Still  Cameraman. 
Laurie  Ridley. 

Publicity  Di  part  mi  nt .    Publicity  Direi 
tor.   A.   Hibbert   Jones. 


Year  O)   Production  :     1956. 

studio:    Bushey  Studios. 

Laboratory:      Rank    Laboratoi 

Producing     Company:      Femina     Films 

Sci  narist :    Peter  Rol 
Director:    Gerald 
Si  i  >i,n  ists  :     Peter    Rogei  S. 

Camera  Department      Lighting  Camera- 
man,   Otto    Heller ;    Camera    Op.i 
Gus      Drisse;      1st      Camera     Assistant 
(Focus),    1>.  nil      Fox;    Second  Camera 
Operator.    Ian    St  rut  hers. 

Sound  in  /nn  I ....  iii  Recordist  (Mixer), 
Frank  Flvnn:  Sound  Camera  Opera- 
tor, Rill  Kobson:  Hoom  Opeiator. 
Barry  Copland:  Dubbing  Crew, 
R.    Jones.    P.   Cunningli  . 

Art  1 1<  p  "  (  ""  nt  \i  t  I  'ire.  i  or,  Ceorge 

Kditina  Department  Editor.  Peter 
Boita:    1st    Assistant.    Michael    Round. 

production       Depart  nn  nt  Produi 

Manager      and   or     Unit      Production 

Manager,      Al      Marcus;      1st      Assistant 

Directoi  Basil  Keys;  2nd  Assistant 
Director,  John  Meadows  Continuity, 
jinn     Randall;    Production   Secretary. 

Trixie  Wilkin. 

stills  Department:  still  Cameraman, 
i      .te    Ridlej . 


In    I  he    .  i  i  dits    l..i     this    film,    pul  li 
in  October  1966.    Robert    Winter's 

should       ha\  .         i "u.  , 


January  1957 



KODAK:  Our  members  at  Kodak 
have  recommended  that  we  seek 
discussions  with  the  Management 
on  the  following: 

1.  Three  weeks'  holiday  after 
10  years'  service. 

2.  Time  and  a  half  for  night 

3.  Premium  rates  for  holiday 
periods  and  sickness  for  those 
on  permanent  shift  work  to 
endeavour  to  bring  them  into 
line  with  the  Laboratory 

The  Executive  endorsed  this  re- 


N.R.A.     The  Executive  had  before 

it  the  following  proposed  formula 

for  revision  of  the   Cost-of-Living 

Bonus    Clause    in    the    agreement 

between  A.C.T.T.  and  the  N.R.A. : 

"As  from  January  1957  for  each 

rise  or  fall  of  one  point  in  the 

new  published  Index  the  bonus 

shall  be  increased  or  decreased 

by   Is.   6d.  per  week  provided 

that  if  the  Index  rises  by  more 

than    eight    points    the    N.R.A. 

shall  have  the  right  to  call  a 

joint    meeting    to    review    the 

matter  and  provided  that 
irrespective  of  any  fall  in  the 
Index  the  cost  of  living  bonus 
shall  not  be  reduced  below  the 
figure  of  £2  10s.  Od." 
This  proposed  formula  was 

(b)  A.S.F.P.  At  a  joint  meet- 
ing between  representatives  of  the 
A.S.F.P.  and  A.C.T.T.  both  sides 
agreed  to  recommend  to  their 
governing  bodies  acceptance  of  the 
following  proposals: 

That  as  from  January  1957  the 
new  Index  of  Retail  Prices  be 
adopted  for  calculation  of  the 
cost  of  living  bonus  on  the 
basis  of  a  rise  or  fall  of  Is.  6d. 
per  week  for  each  rise  or  fall 
of  one  point  in  the  Index  in- 
stead of  Is.  a  point  on  the  old 
Index,  together  with  payment 
of  the  full  cost  of  living  bonus 
at  age  18  instead  of  21. 

The  Executive  endorsed  the  pro- 

(c)  B.F.P.A.  The  Acting 
General  Secretary  reported  a  letter 
from  the  B.F.P.A.  proposing  that 
the  agreed  quota  for  foreign  pro- 
ducers and  directors  in  the  coming 


REGION  of  NIGERIA  on  contract  for  12/24  months  in  first  instance. 
Salary  according  to  qualifications  and  experience  in  scale  (including  In- 
ducement Additions)  £1,728  rising  to  £1,944  a  year.  Outfit  allowance  up 
to  £60.  Gratuity  at  rate  £150  a  year.  Free  passages  for  officer,  wife  and 
three  children  under  age  13.  Liberal  leave  on  full  salary.  Candidates 
should  have  had  at  least  5  years'  experience  with  a  reputable  Film  Pro- 
duction Unit  or  firm  including  16mm.  and  35mm.  productions  in  black 
and  white  and  colour  mediums.  They  should  be  able  to  script  for  dialogue 
and  must  have  had  experience  of  supervising  at  dubbing  sessions.  Write 
to  the  Crown  Agents,  4  Millbank,  London,  S.W.I.  State  age,  name  in 
block  letters,  full  qualifications  and  experience  and  quote  M3B/43785/CY. 

GOVT.  INFORMATION  SERVICE  on  contract  for  12/24  months  in  first 
instance.  Salary  according  to  experience  in  scale  (including  inducement 
addition)  £954  rising  to  £1,488  a  year.  Gratuity  at  rate  £100/£150  a  year. 
Outfit  allowance  £60.  Free  passages  for  officer  and  wife.  Assistance 
towards  cost  of  children's  passages  and  grant  up  to  £150  annually  for 
their  maintenance  in  U.K.  Liberal  leave  on  full  salary.  Candidates 
must  be  of  good  education  and  fully  conversant  with  16mm.  and  35mm. 
editing.  Write  to  the  Crown  Agents,  4  Millbank,  London,  S.W.I.  State 
age,  name  in  block  letters,  full  qualifications  and  experience  and  quote 

OF  NIGERIA  on  contract  for  12/24  months  in  first  instance.  Salary 
according  to  qualifications  and  experience  in  Scale  (including  inducement 
addition)  £810  rising  to  £1,716  a  year.  Gratuity  at  rate  £100/£150  a  year. 
Clothing  allowance  £45.  Touring  Equipment  Allowance  £40.  Free 
passages  for  officer  and  wife.  Assistance  towards  cost  of  children's 
passages  and  grant  up  to  £288  annually  for  their  maintenance  in  U.K. 
Liberal  leave  on  full  salary.  Candidates  must  have  had  at  least  5  years' 
experience  with  reputable  film  units  and  long  practical  experience  of 
handling  35mm.  and  16mm.  film  and  magnetic  tape  recordings.  Write 
to  the  Crown  Agents,  4  Millbank,  London,  S.W.I.  State  age,  name  in 
block  letters,  full  qualifications  and  experience  and  quote  M3B/43721/CY. 

year  be  a  total  of  seven  for  foreign 
producers  and  seven  for  foreign 
directors  based  on  an  estimated 
production  of  78  films  during  the 
period  concerned.  The  Executive 
recommend  that  the  proposed 
quota  be  accepted  on  the  under- 
standing that  the  question  be  re- 
examined after  six  months,  and,  if 
the  total  production  is  less  than 
anticipated,  the  quota  should  be 
reduced  accordingly. 

(d)  Associated  -  Rediffusion: 
Feature  rates  and  overtime  pay- 
ments are  now  being  paid  to 
A.C.T.T.  members  employed  in  the 
Film  Section  at  Associated- 
Rediffusion  following  negotiations 
with  Head  Office.  In  addition  to 
receiving  wage  increases,  lump 
sum  payments  totalling  approxi- 
mately £1,050  to  cover  retrospec- 
tive adjustments  have  been  re- 
ceived by  seventeen  of  the 

TORIES: Radiant  Colour  is  still 
operating  and  had  on  January  9 
two  weeks'  work  in  hand.  Shop 
Steward,  Bro.  Norley,  informed  the 
Organiser  that  normal  hours  and 
rates  of  pay  are  being  paid,  and 
that  there  are  now  eight  members 
employed  there. 

Efforts  have  been  made  to  assist 
those  who  have  been  made  redun- 
dant, but  several  of  the  members, 
particularly  the  women,  are  not 
willing  to  work  outside  Slough. 
One  of  the  members  has  obtained 
employment  at  another  laboratory, 
and  one  is  now  working  at  Pine- 
wood  Studios. 

(continued  on  page   14) 

Camera  Hire 

(1)  NEWMAN  SINCLAIR— Mirror  Shutter. 
All  Cooke  Lenses  including  Series  2., 
25mm.,  f.1.7.  SINGLE  FRAME  EXPOSURE 
and  Electric  Motor  Drive.  (Available  fully 
adapted  for  CINEMASCOPE  if  required.) 

(2)  NEWMAN  SINCLAIR--Mirror  Shutter. 
Cooke  Lenses  and  24mm.  Angineux  Retro- 

(3)  NEWMAN  SINCLAIR— Model  G.  All 
and  Electric  Motor  Drive  if  required. 

Kingston]  Tubular  and  Vinten  Light  Gyro 


Mecal  construction,  pneumatic  tyres,  drop- 
down jacks,  lightweight  tracks,  etc. 


FINchley  I  595 



January  1957 

General  Council 



Paddy  Leech  represented  the 
widow  of  one  of  our  members  at 
an  Insurance  Appeal  in  Taunton. 
Mrs.  Burchett's  husband  was  killed 
in  an  accident  while  working  for 
the  Nigerian  Colonial  Film  Unit. 
Because  of  the  terms  of  the  Indus- 
trial Injuries  Act,  Mrs.  Burchett 
is  not  eligible  for  benefit.  She  is 
receiving  a  widow's  pension  and 
also  a  pension  from  the  Nigerian 
Government  but  this  case  raises 
the  question  of  principle.  The 
Executive  agreed  the  matter 
should  be  taken  up  with  the  appro- 
priate department  of  the  T.U.C., 
asking  them  if  they  are  aware  of 
the  situation  and  requesting  their 
views  as  to  what  approaches 
should  be  made. 

Zannuck,  Robert  Rossen  and 
William  Lee  Wilder  have  been 
given  temporary  membership  of 
the  Union. 

AND  A.G.M.:  The  Executive  gave 
very  careful  consideration  to  the 
problem  of  ensuring  that  TV  mem- 
bers in  Manchester  and  Birming- 
ham should  be  given  every  oppor- 
tunity to  attend  the  Annual 
General  Meeting.  After  consider- 
able discussion  it  was  agreed  that 
for  the  forthcoming  A.G.M. 
A.C.T.T.  will  arrange  transport 
with  a  view  to  getting  provincial 
members  down  to  the  meeting.  It 
was  also  agreed  that  Head  Office 
should  send  out  an  appeal  to 
members  living  in  London  to  pro- 
vide accommodation  for  these 

BERS: Since  the  question  of  new 
entrants  into  A.C.T.T.  has  been 
bothering  a  number  of  Depart- 
mental Sections  in  the  production 
side  of  the  industry,  the  General 
Council  called  a  conference  on 
December  10,  1956,  to  consider 
Union  policy  in  regard  to  new 
members.  Twenty-six  members 
attended  covering  representation 
from  the  Sections  and  from  the 
Executive.  Alf  Cooper  took  the 

The  meeting  was  reminded  of 
the  powers  of  the  Executive  and 
General  Council  under  Rule,  and, 
while  Sections'  activities  were 
welcomed,  the  Executive  and 
General  Council  had  no  option  but 
to  interpret  the  Rules  as  approved 
by  the  Registrar  of  Friendly 

In  discussion  the  main  criticism 
appeared  to  be  that,  whilst  accept- 

ing this  fact,  it  was  thought  that 
Sections'  recommendations  were 
not  taken  seriously  enough  as 
there  was  adequate  proof  that  in 
cases  where  Sections  had  been 
over-ruled  the  person  being 
granted  membership  against  the 
Section's  advice  had  proved  un- 
satisfactory on  the  job.  It  was 
felt  that  this  only  added  to  unem- 
ployment and,  on  a  long-term 
policy,  brought  the  Association 
into  disrepute. 


TIONS: The  Executive  had  before 
it  a  draft  agreement  drawn  up  by 
the  T.V.P.C.A.  as  a  result  of  nego- 
tiations. After  very  careful  con- 
sideration, the  Executive  agreed 
that  the  draft  should  be  referred 
to  a  small  expert  committee  for 
consideration  and  report  back,  the 
committee  to  comprise  one  tele- 
vision representative  from  each  of 
the  major  companies  together  with 
one  from  the  B.B.C.  It  was  agreed 
that  the  conference  should  be  an 
all-day  affair  and  one  of  the  points 
for  consideration  should  be  ways 
and  means  of  strengthening  the 
negotiating  committee.  Five  Exe- 
cutive members  were  appointed  to 

General     Secretary     attended     the 

Annual  Conference  of  the  Non- 
Manual  Workers'  Advisory  Council 
on  December  7,  1956.  Eighty-eight 
delegates  from  36  Trade  Unions 
representing  1.229,000  Trade 
Unionists  were  in  attendance. 
George  Elvin,  our  General  Secre- 
tary, was  again  elected  on  the 
Executive  Committee.  The  follow- 
ing resolution,  moved  by  the  Guild 
of  Insurance  Officials  through  their 
General  Secretary  Henry  Levitt, 
was  opposed  from  the  platform  on 
the  grounds  of  economics,  but  was 
nevertheless  carried  almost  unani- 
mously by  the  Conference: 

"This  Conference  notes  the 
widespread  lack  of  knowledge 
amongst  non-manual  workers 
of  the  functions  and  policy  of 
the  Trades  Union  Congress,  a 
position  which  is  often  accen- 
tuated by  misrepresentations 
in  the  press  and  other  organs 
of  information. 

"  Conference  notes  the  diffi- 
culty presented  to  individual 
unions  in  combating  this  situa- 
tion and  with  a  view  to  apply- 
ing a  remedy  on  a  national 
scale,  Conference  urges  the 
General  Council  to  consider 
the  possibility  of  using  tele- 
vision, films  and  other  modern 
publicity  methods  to  present 
authoritative  information 

about  the  Trade  Union  Move- 


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January  1957 



Shorts  &  Documentary 


The  Old  Year  went  out  with  the 
usual  festivities  and  Unit  parties, 
and  there  is  one  in  particular  I 
would  like  to  mention  :  the  Crown 
Film  Unit  Reunion.  This  is  an 
annual  "do"  for  all  members  who 
have  been  associated  with  the 
Unit,  and  invitations  are  sent  out 
by  the  organisers.  So  if  any  of 
you  who  are  ex-members  of  the 
Crown  Unit  did  not  get  notified 
about  the  last  Reunion  in  Decem- 
ber, please  send  your  particulars 
to  John  Legard  if  you  are  inter- 
ested in  future  gatherings. 

Terry  Trench 

I  understand  that  Terry  Trench, 
who,  you  may  remember,  went  to 
Australia  to  work  on  the  Olympic 
Games  Film,  has  decided  to  stay 
in  the  sun,  down-under,  to  "cut" 
another  film. 

Hard  Luck,  George! 

Recently  I  mentioned  George 
Noble  and  Cyril  Sirapoff.  George, 
as  you  know,  is  on  leave,  and 
Cyril  is  "standing-in"  for  him  and 
staying  in  George's  bungalow. 
Well,  I  met  George  and  his  brother 
Joe,  and  I  enquired  if  there  was 
any  news  from  the  Gold  Coast. 
George  laughed  and  said  "  Oh  yes, 
I've  had  a  letter  from  Cyril,  and 
he  informs  me  that  he's  had  a 
burglary  and  all  my  shirts  have 
been  stolen."  Hard  luck,  George ! 
Still,  I  understand  they  are  in- 
sured, so  have  a  grand  time  on 
your  leave. 

Now  for  1957.  I  sincerely  hope  it 
will  be  a  prosperous  one  for  us  all, 
and  I  trust  I  shall  be  able  to  keep 
you  fully  informed  of  the  news. 
I  should  like  to  thank  all  those 
who  have  helped  with  information 
during  the  past  twelve  months  and 
I  will  wind  up  by  saying :  my 
ambition  is  to  have  a  full-page 
"spread",  as  we  did  in  the  Decem- 
ber issue,  every  month,  so  please 
help  me  to  help  you. 


EDITOLA  or  similar  wanted  s/hd. 
Essential  available  inspection  Lon- 
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a  modern  and  economical  recording  and  dubbing 

theatre  in  central  London. 

Situated  in  Wardour  Street  the  facilities  available  for 
use  by  film  production  companies  include: 

A  Main  Channel  recording  unit  consisting 
of  an  R.C.A.  PM  38E  for  photographic  or 
magnetic  recording.  This  can  be  used  with 
either  4  synchronous  photographic  and  2 
non-synchronous  reproducer  heads,  or  1 
magnetic,  3  photographic  synchronous  and 
2  non-synchronous  reproducer  heads. 

Ancillary  equipment  enabling  the  Main 
Channel  to  transfer  £in.  standard  tape  at  7^ 
or  15  i.p.s.  to  35mm.  photographic  or  mag- 
netic film,  or  vice-versa. 

The  Main  Channel  can 

be  used  for  the  transfer 

of  331  45  or  78  RPM 

disc  recordings  to 

tape  or  film. 

A  Leevers-Rich  synchropulse  tape  which  can 
be  used  for  synchronous  shooting  on  location. 

A  16mm.  photographic  or  magnetic  projector 
which  can  be  run  in  synchronisation  with  the 
35mm.  equipment.  This  projector  can  also 
record  magnetically  independently  on  16mm. 

all  enquiries  should  be  made  to: 

The  Studio  Manager, 
Film  House  Productions  Ltd., 
Film  House, 
Wardour  Street,  W.i. 
Telephone:  GERrard  6461. 



January  1957 

Still  pictures  on  ILFORD  HP3 
and  HPS  films. 

ILFORD  LIMITED  '   ILFORD  '   LONDON     Cine  Sale-;  Department,  104  High  Holborn,  London,  W'.C.l     Tel.:  HOLborn  3401 

Published   by   the  Proprietors,  The  Association  of  Cinematograph,  Television  and  allied  Technicians,   2  Soho 
Square,  London,  and  Printed  by  Watford  Printers  Limited,  Watford,  Herts. 


(See   page  25) 






I  957 

Association  of  Cinematograph,  Television  and  allied  Technicians 

Vol.  23 

No.  146 

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February  1957 

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February  1957 


Tfcfr  K^ittitft  of  Modecrt  Aft 



THE  Annual  General  Meeting, 
-*-  which  will  be  held  at  the  Beaver 
Hall,  Garlick  Hill,  Cannon  Street, 
E.C.4,  on  Saturday,  9th  March,  and 
Sunday,  10th  March,  is  the  one 
great  opportunity  which  every 
member  of  A.C.T.T.  has  to  express 
his  views  on  Union  policy  and  to 
help  in  the  shaping  of  that  policy 
for  the  ensuing  year. 

We  hope  that  all  members  who 
can  possibly  do  so  will  seize  that 
opportunity  and  come,  ready  with 
their  views  and  any  constructive 
criticisms  that  they  may  have  to 
offer  so  that  the  incoming  General 
Council  can  tackle  its  task  in  1957 
with  a  full  knowledge  of  what  is  in 
our  members'  minds.  In  this  way 
the  Union  leadership  will  be  enor- 
mously strengthened  for  such 
struggles  as  may  lie  ahead. 

In  one  direction  in  particular  the 
A.G.M.  of  1957  is  breaking  new 
ground.  For  the  first  time  a 
special  effort  is  being  made  to  see 
that  A.C.T.T.  shops  in  the  Midlands 
shall  be  adequately  represented. 
This  is  a  direct  outcome  of  the 
growing  importance  of  our  Tele- 
vision membership  and  special 
arrangements  are  therefore  being 
made  for  transport  and  accommo- 
dation for  members  who  are  able 
to  make  the  journey  from  the 
Midlands  to   London. 

This  year's  A.G.M.  comes  at  a 
time  when  the  future  of  the  British 
film  industry  is  under  debate  in 
Parliament  and  it  is  therefore  not 
surprising  that  the  agenda  should 
contain  a  number  of  resolutions 
designed  to  ensure  the  healthy 
growth  of  the  industry,  with  a 
consequent  increase  in  security  for 
all  trade  unionists  working  in  it. 
These  resolutions  include  a  call 
upon  the  government  to  revise  its 
policy  toward  the  cinema  in  order 
to  ensure  generous  and  imagina- 
tive sponsorship  of  documentary 
films  to  make  known  at  home  and 
abroad  the  problems  and  achieve- 
ments of  the  British  people. 
Another  resolution  calls  for  the 
establishment  of  a  National  Film 
Unit  under  a  National  Film  Board. 
The  establishment  of  a  National 
Film  Circuit  is  also  called  for.  The 
setting  up  of  a  fourth  circuit  has 
for  long  been  part  of  the  policy  of 
A.C.T.T.  and  the  other  unions  con- 
cerned with  the  film  industry. 

Naturally  the  agenda  paper 
carries  a  number  of  resolutions 
dealing  with  Television.  One,  in 
the  name  of  the  General  Council, 
reaffirms  A.C.T.T.'s  policy  of 
lOCr  membership  in  the  appro- 
priate grades  in  Television.  It 
also  draws  the  attention  of  the 
Postmaster  General  and  the  T.U.C. 

to  the  fact  that  the  B.B.C.  still 
refuses  to  recognise  A.C.T.T.  in  the 
Television  field  and  asks  for  the 
wholehearted  support  of  members 
in  any  action  that  may  be  deemed 
necessary  for  the  establishment  of 
trade  union  standards  in  this  field 
of  work. 

In  the  name  of  the  General 
Council,  too,  there  is  a  composite 
resolution  dealing  with  the  effects 
of  Government  policy  on  the  living 
standards  of  trade  unionists  in 
general.  This  motion  protests  in 
strong  terms  against  the  increased 
charges  under  the  National  Health 
Service,  the  increased  cost  of 
transport  and  the  new  Rents  Bill. 
The  resolution  instructs  the  incom- 
ing General  Council  to  take  all 
necessary  steps  to  resist  any 
attempt  to  reduce  living  standards 
as  a  means  of  solving  the  nation's 
economic  problems. 

What  we  have  outlined  above 
are  some  of  the  more  important 
items  which  A.G.M.  will  have 
before  it  for  debate.  There  are 
many  others  which  closely  touch 
the  interests  of  every  member  of 
the  Union.  March  9th  and  10th 
will  provide  you  with  the  oppor- 
tunity of  doing  your  part  to  see 
that  those  interests  are  protected. 


This  is  Urgent 


Accommodation  is  still  urgently  required  for  provincial  Television  members  attending  the 
Annual  General  Meeting.  The  Executive  Committee  therefore  appeal  to  all  members  in  the 
London  area  who  are  in  a  position  to  do  so  to  offer  such  accommodation.  Please  advise 
Head  Office  without  delay,  either  through  your  Shop  Steward,  by  telephone  to  Gerrard  8506, 
or  alternatively  by  completing  the  form  below  and  posting  it  to  Head  Office,  2  Soho  Square, 
London,  W.l,  staring  whether  you  can  accommodate  one  or  more  members  for  the  night 
of  Saturday,  9th  March,  1957. 

To  Association  of  Cinematograph,  Television  and  allied  Technicians, 
2  Soho  Square,  London,  W.l. 

I  can  accommodate  (number  of  members)  for  the  night  of  Saturday, 

9th  March,  1957. 



(Telephone  number ) 



February  1957 

Our  A.G.M.  Guest 


IT  is  said  that  one  of  the  features 
which  most  impresses  the  foreign 
visitor  to  this  country  is  question- 
time  in  the  House  of  Commons. 
Any  visitor  there  at  that  time  will 
almost  inevitably  see  Stephen 
Swingler,  Labour  member  for  New- 
castle-under-Lyne,  pressing  Cabinet 
Ministers  on  a  variety  of  subjects, 
for  he  is  one  of  the  most  regular 
and  persistent  of  Parliamentary 

A.C.T.T.  knows  him  through 
films,  but  the  film  industry  is  only 
one  of  the  many  subjects  in  which 
he  takes  an  expert  interest. 

The  usual  two  guesses  for  his 
interest  in  films  are  both  wrong. 
He  was  not  lobbied  by  his  brother 
Humphrey  of  Green  Park  Produc- 
tions, nor  was  he  approached  by 

The  reason  is  much  simpler. 
Woodrow  Wyatt — now  no  longer  a 
Member  of  Parliament — and  he 
were  looking  at  the  published  quota 

returns    three    or    four    years    ago 
and    came    to   the    conclusion    they 

were  excessive  and  that  the  Board 
of  Trade  were  doing  little  about  it. 
They  therefore   tabled   a   series   of 

questions   which   stirred  things   up 
most  effectively. 

The  subsequent  successful  prose- 
cution of  defaulters  and  the  decline 
in  quota  defaulters,  particularly 
among  some  of  the  larger  cinemas, 
are  in  most  people's  minds  attribut- 
able to  the  campaign  started  by 
Messrs.  Wyatt  and  Swingler  and 
carried  on  by  Stephen  Swingler 
after  Woodrow  Wyatt's  General 
Election  defeat. 

It  was  the  start  of  this  cam- 
paign which  brought  A.C.T.T.  in 
touch  with  Stephen  Swingler  and 
since  then  we  have  had  the  friend- 
liest possible  contact.  We  are  there- 
fore particularly  glad  that  he  has 
been  able  to  accept  the  General 
Council's  invitation  to  be  the  guest 
speaker  at  our  24th  Annual  Gen- 
eral Meeting,  and  we  are  sure  his 
attendance  will  be  added  induce- 
ment to  members  to  be  present  on 
the  second  day  of  the  Meeting, 
Sunday,  10th  March,  when  he  will 
be  speaking  to  us. 

VONT  fofaCF 

AffTEcfiioa    You, 

VVlLL    ^ 


A  I    Oil 

RAM.  <» 

February  1957 




AMONG  the  many  resolutions  on 
the  agenda  of  our  Annual  Gen- 
eral Meeting  will  be  one  from 
Humphries  Laboratories  on  the 
question  of  Trade  Union  recogni- 
tion at  Kodak  Ltd.  This  again  will 
focus  the  attention  of  our  member- 
ship on  the  attitude  of  this  Ameri- 
can firm  whose  persistence  in  re- 
fusing to  negotiate  with  the  Trade 
Unions  continues. 

How  much  do  other  sections  of 
our  membership  really  know  about 
this  giant  company,  who  employ 
over  7,000  workers  on  film,  sensi- 
tised plates,  paper  and  camera 
production  ? 

Kodak  Ltd.  can  be  classified 
under  the  heading  of  reasonable 
employers  who  concede  pension 
rights,  profit  sharing,  bonuses, 
social  facilities,  etc.  to  their  em- 
ployees. However,  experience  in 
the  Trade  Union  movement  has 
taught  us  that  concessions  given  in 
the  absence  of  negotiated  agree- 
ments can  also  be  taken  away. 
These  concessions  can  never  be  a 
substitute  for  Trade  Union  repre- 
sentation and  recognition. 

Wage  Rates 

Wage  rates  at  Kodak  are  not 
determined  by  the  practice  gener- 
ally accepted  throughout  British 
industry,  i.e.,  through  negotiation 
with  the  Trade  Unions.  They  are 
established  by  a  system  of  job 

Periodical  assessments  are  car- 
ried out  by  the  company's  "  Inde- 
pendent Evaluation  Officers  ",  and 
at  times  it  happens  that  as  a  result 
of  these  assessments  dissatisfac- 
tion arises  even  if  increased  rates 
are  awarded ! 

One  case  was  that  of  a  Film 
Dryer  who  had  succeeded  in  pass- 
ing a  departmental  examination 
and  had  accepted  promotion  as  a 
Film  Tester  (a  grade  carrying  a 
higher  basic  rate).  On  the  next 
company  evaluation,  the  Film 
Dryer  rate  was  increased  to  sur- 
pass that  of  a  Film  Tester.  This 
meant  that  the  individual  con- 
cerned was  receiving  a  smaller 
rate  than  he  would  have  received 
on  his  original  job.  Is  this  pro- 
motion ? 

On  a  number  of  occasions  I  have 

met  the  management  to  pursue 
grievances  arising  from  job  evalua- 
tion. It  is  not  uncommon  to  find 
rates  decreased  after  an  assess- 


Bessie  Bond 

The  company  find  it  extremely 
profitable  to  employ  people  on 
night  work.  Under  the  A.C.T.T. 
agreement  with  the  Film  Labora- 
tory Association  night  work  is 
paid  at  time-and-a-half,  but  our 
members  at  Kodak  receive  only  a 

last  five  years,  have  failed  to  imple- 
ment the  holiday  allowance  operat- 
ing in  the  Film  Laboratories,  i.e., 
three  weeks'  holiday  after  ten 
years'  service.  With  the  exception 
of  certain  grades,  Kodak  employees 
have  to  complete  twenty-five  years' 
service  with  the  company  before 
becoming  entitled  to  three  weeks' 

Under  our  Laboratory  agreement 
all  holiday  and  sickness  benefits 
for  permanent  shift  workers  are 
calculated  on  premium  rates.  But 
at  Kodak  both  holiday  and  sickness 
benefits  are  based  on  flat  rates : 
although  the  company  could  well 
afford  to  implement  these  benefits 
already  enjoyed  under  A.C.T.T. 

NO'     NO'      A   THOUSAND    HMEf     NO 

meagre  allowance  of  7/-  per  night 
above  their  normal  day  rate. 

On  this  issue  alone  our  members 
have  distributed  over  2,000  leaflets 
which  met  with  favourable  res- 
ponse at  the  factory  and  assisted 
in  consolidating  and  recruiting 

It  is  significant  to  note  that  the 
company  which  made,  before  taxa- 
tion, over  £12,000,000  profit  in  the 

Under  the  Government  Contract 
Law  any  employer  working  on  Gov- 
ernment Contracts,  as  Kodak  do, 
must  recognise  the  right  of  their 
employees  to  join  their  appropriate 
union.  Kodak  Ltd.  are  obliged  to 
adhere  to  this  ruling,  but  this  is 
where  their  obligation  ends.  It  is 
true  that  the  management  on  cer- 
tain   occasions    agree    to    meet    us 

(Continued  on  page  22) 



February  1957 


(JHOP  Stewards  get  strange  ques- 
•^  tions  from  their  members,  and 
they  are  pretty  good  at  finding  the 
right  answers.  However,  try  this 
one  on  yours  and  see  what  happens 
— "Are  you  breaking  the  agree- 
ment if  you  drink  coffee  in  the 
tea  break?" 

This  all  came  about  because  we 
were  talking  of  the  shortage  of 
sugar  which  there  appeared  to  be 
in  some  parts  of  Soho  recently, 
just  before  the  price  went  up.  The 
manufacturers  were  accused  of 
holding  the  sugar  back,  knowing 
that  the  price  was  to  increase,  and 
some  A.C.T.T.  members  were  won- 
dering whether  and  when  they 
might  get  an  increase  to  compen- 
sate for  this  latest  example  of  the 
benefits  of  private  enterprise. 

Mr.  Cube 

Smiling  on  all  this  with  his  sweet 
tooth  showing  is  the  famous  "  Mr. 
Cube "  of  Tate  and  Lyle,  who 
seem  to  have  monopolised  sugar  as 
efficiently  as  Mr.  Rank  has  films 
and  flour.  "  Mr.  Cube's  "  West 
Indian  plantations  had  an  excel- 
lent year;  "Mr.  Cube's"  own  fleet 
of  sugar  ships  have  been  packed 
full,  and  he  has  put  up  the  freight 
charges  to  the  refineries.  And  who 
owns  the  refineries?  Why,  "  Mr. 
Cube ",  who  has  passed  on  the 
charges  (plus  a  nice  little  extra 
amount  for  the  refineries'  profits) 
to  you. 

But    just    you    try    passing    the 



and  listen  to  our  point  of  view,  but 
they  decline  to  negotiate  with  us, 
or  with  any  trade  union. 

Nevertheless  our  growing 
strength  among  the  key  film  wor- 
kers in  the  company  is  a  clear  and 
inspiring  indication  that  the  wor- 
kers, as  a  result  of  their  own  ex- 
periences, plus  the  assistance  of 
our  active  members,  who  cease- 
lessly fight  for  trade  union  recog- 
nition, are  learning  that  A.C.T.T. 
membership  has  plenty  to  offer ! 

extra  cost  on  to  your  employer — 
assuming  you  are  not  unemployed 




— and  see  what  happens !  If  you 
are  one  of  those  under  the  Labora- 
tory, Shorts  or  Newsreel  Agree- 
ments who  get  an  automatic  rise 
as  the  official  cost-of-living  index 
rises,  you  will  find  that  it  is  so 
arranged  that  it  is  a  long  time 
after  the  prices  have  gone  up  in 
the  shops  that  you  get  anything — 
and  then  it  will  not  be  enough  to 
compensate  you  fully. 

If  you  are  a  feature  or  TV  mem- 
ber, or  working  on  making  equip- 
ment or  at  Kodak,  you  may  well 
get  a  lecture  on  how  poor  your 
employer  is  and  how  wicked  you 
are  for  creating  a  wages-prices 

That  other  sweet   pleasure 

Of  course,  there  is  more  to  life 
than  eating  sugar,  Take  that  other 
sweet  pleasure,  paying  your  land- 
lord his  rent,  for  instance. 

But  I  shall  not  say  much  on  this 
topic,  as  it  is  to  be  aired  at  our 
annual  general  meeting  on  9th  and 
10th  March.  Let  me  just  make  a 
point  or  two :  the  Government  is 
saying  it  must  rush  the  Rent  Bill 
through  Parliament  because  of  the 
pressure  of  business  there — exactly 
the  same  point  that  Lord  Mancroft 
made  on  behalf  of  the  Government 
in  the  House  of  Lords  in  December, 
when  it  tried  to  rush  the  Quota 
section  of  the  Cinematograph  Films 
Bill  through  without  proper  oppor- 
tunity for  amending  and  discussing 

The  film  trade  was  unanimously 
furious  about  this,  and  the  Govern- 
ment gave  in  and  told  Stephen 
Swingler,  M.P.  in  the  House  of 
Commons  that,  after  all,  it  pro- 
posed consulting  the  industry  on 
the  future  of  Quota  legislation. 

The    moral     is     that    if    enough 

people  lobby  their  M.P.s  about  the 
Rent  Bill,  that  Bill  can  be  delayed 
and  amended — but,  of  course,  the 
Government  considers  the  Rent  Bill 
far  more  important  than  the  Films 
Bill,  so  it  will  not  be  an  easy 

Talking  of  lobbying,  the  cinema 
owners  are  putting  a  lot  of  work 
into  trying  to  get  Entertainments 
Tax  reduced  in  the  Spring  Budget. 
I  wish  them  luck,  but  do  not  think 
me  back-handed  if  I  qualify  those 
good  wishes.  Our  colleagues,  the 
cinema  staffs  in  NATKE,  should 
get  some  of  the  benefit  from  a 
reduced  Tax,  as  should  the  cinema 
patrons  and  the  producers  of  Bri- 
tish pictures. 

No  Calamity? 

It  would  be  foolish  to  make  any 
predictions  about  the  Tax  and  the 
Budget,  but  it  is  worth  noting  that, 
especially  since  Suez,  the  high  cost 
of  armaments  will  prevent  the 
Government  being  very  generous 
to  the  cinemas.  When  owners  com- 
plained that  a  number  of  halls 
were  closing,  they  were  callously 
told  by  Lord  Mancroft :  "  We  all 
know  places  in  which  there  seem 
to  be  competing  cinemas  on  every 
corner,  and  it  is  little  wonder  that 
in  times  of  declining  cinema  atten- 
dance some  of  these  must  of  neces- 
sity close  their  doors.  But  it  would 
be  quite  wrong,  I  think,  to  see  in 
this  a  calamitous  situation." 

It  has  been  suggested  that 
cinema  Entertainments  Tax  may 
be  slightly  reduced,  but,  to  make 
up  for  this,  there  will  be  some  form 
of  tax  on  television.  The  argu- 
ment is  that  the  Government  would 
not  dare  give  the  cinemas  much  of 
a  concession  as  that  would  en- 
courage umpteen  others  to  demand 
similar  treatment;  and  so  it  views 
the  entertainment  business  as  a 
single  industry,  and  it  intends 
juggling  with  the  tax  it  gets  from 
different  departments  of  that  in- 
dustry. Damn  clever,  these  politi- 
cians ! 

We  all  know  the  close  business 
links  between  some  sections  of  the 
film  and  TV  worlds — Granada  TV 
and  Granada  Theatres,  for  ex- 
ample, or  Rank's  interests  in 
Cinema-Television  Ltd.  All  this 
raises  again  the  need  for  our  film 
and  our  TV  members  to  stick  to- 
gether, as  well  as  the  bigger  ques- 
tion of  Trade  Union  unity  within 
the  entertainment  industry,  which 
was  considered  by  the  T.U.C. 
several  years  ago.  The  latter  is  a 
big  problem  that  cannot  be  tackled 
in  a  hurry.  But  there  is  no  harm 
in  starting  to  think  about  it  now. 

February  1957 



A   Technician's  Notebook 

Magnificent  Photography 

OPINIONS  about  the  merits  of 
War  and  Peace  as  a  motion 
picture  have  varied  considerably, 
but  there  has  been  no  disagree- 
ment about  the  magnificence  of 
the  colour  photography. 

In  an  interview  with  Jack 
Cardiff,  published  in  the  American 
Cinematographer,  Derek  Hill 
elicited  some  interesting  facts 
about  the  shooting  of  this  huge- 
scale  production. 

First  about  the  photographic 
credits,  which  list  Jack  Cardiff  as 
director  of  photography  with  addi- 
tional photography  by  Aldo  Tonti, 
a  leading  Italian  cinematographer. 
Tonti  was  apparently  responsible 
for  some  of  the  battle  scenes  and 
all  the  Napoleon  sequences,  the 
rest  of  the  photography  was 
handled  by  Cardiff. 

This  was  his  first  picture  in 
VistaVision  and  before  production 
started  he  spent  two  weeks  in 
Hollywood  familiarising  himself 
with  the  system.  To  start  with, 
two  new  VistaVision  cameras  were 
flown  to  Rome,  later  four  VV 
cameras  were  made  available  and 
used  in  photographing  the  three 
great  battle  scenes  involving 
thousands  of  extras. 

Summer  Snow 

Cardiff  said  that  his  experience 
on  Scott  of  the  Antarctic  stood  him 
in  good  stead  when  it  came  to  re- 
creating the  snow  and  storm 
effects  in  War  and  Peace.  '  Re- 
creating '  is  the  right  word  as  a 
large  proportion  of  the  film  was 
shot  during  the  height  of  the 
Italian  summer.  For  one  scene  it 
was  necessary  to  scatter  powdered 
plaster  over  a  square  mile  of  the 
location  to  simulate  the  effect  of 

Sprayed  Glass 

In  the  '  exterior '  snow  scenes 
shot  on  the  studio  stage  Cardiff 
used  a  sheet  of  glass  sprayed  white 
in  front  of  the  camera  plus  a  pale 
green  filter  to  produce  the  effect  of 
a  slight  mist.  The  duel  in  the 
snow  sequence  which  has  aroused 
so  much  comment,  was  also  shot 
on  one  of  the  stages  at  Cine  Citta. 

To  get  the  effect  of  dusk  on  a 
winter  evening  a  glass  painting  of 
a  sky  was  used  in  front  of  the 
camera,  as  the  wide  angle  lens  with 
which  the  scene  was  shot  covered 


A.  E.  Jeakins 

too  great  a  field.  For  a  sun  effect 
in  the  same  sequence  a  lamp  was 
directed  on  to  the  sky  area  of  the 
glass  painting,  this  combined  with 
colour  and  fog  filters,  gave  the 
effect  that  Cardiff  was  aiming  at. 

"  War  and  Peace  was  in  many 
ways  a  cameraman's  holiday," 
Cardiff  is  quoted  as  saying,  "  It 
was  a  realistic  subject  and  it  de- 
manded a  straightforward,  raw 
treatment  .  .  .  the  whole  approach 

stated  that  the  Dutch  firm  of 
Philips  had  been  entrusted  with  the 
task  of  producing  a  suitable  pro- 
jector capable  of  showing  not  only 
Todd-AO  70mm.  film  but  also 
35mm.  films  shot  in  any  of  the 
systems  in  current  use. 

Stanley  Bowler,  who  saw  the 
projector  demonstrated  at  the 
Photokina  in  Cologne,  writes  about 
it  in  the  British  Journal  of  Photo- 

Within  a  year  of  the  agreement 
with  the  American  Optical  Co. 
being  entered  into,  the  first 
machines  were  shipped  to  America 
in  time  for  the  premiere  of 
Oklahoma,  first  Todd-AO  produc- 
tion. The  new  Type  DP70  machine 
is  now  in  full  production. 

As  is  now  well  known,  in  this 
system  the  picture  is  photographed 
with  lenses  having  acceptance 
angles  up  to  128°  on  to  70mm.  film. 


was      deliberately     broad,      almost 
rough  ". 

It  has  been  announced  that 
Todd-AO  will  be  shown  in  this 
country  on  1st  May.  Readers  may 
remember  that  when  details  about 
this  system  were  first  given  some 
two    or    three    years    ago,    it    was 

The      release      print      carries      six 
magnetic  sound  tracks. 

As  might  be  expected  the  pro- 
jector is  of  massive  and  robust 
construction.  The  main  housing 
for  the  film  transport  mechanism 
is  about  two  feet  high  by  eighteen 
inches  from  side  to  side  and  from 
front  to  back. 



February  1957 


/"|UR  fears  that  the  Government 
"  has  no  intention  of  accepting 
amendments  to  the  new  Cinemato- 
graph Films  Bill  have  been  more 
than  confirmed  by  the  debates  in 
the  House  of  Lords  during  the 
Committee  stage.  Not  only  have 
all  amendments  been  refused,  but 
the  Government  spokesman  has 
made  it  clear  that  there  is  no  in- 
tention at  this  stage  to  permit 
changes  in  the  all-important  Part 
Three  of  the  Bill  which  deals  with 
the  continuation  of  the  Quota  pro- 

This  part  of  the  Bill  confines  it- 
self to  a  simple  extension  of  the 
existing  Act.  Now  this  Act  is  ten 
years  old,  and  much  experience  has 
been  gained  on  its  operation  during 
this  period,  and  many  weaknesses 
have  been  discovered.  It  was  hoped 
that  these  could  be  corrected  in  the 
new  Act,  and  it  is  quite  monstrous 
for  the  Government  to  railroad 
their  Bill  through  both  Houses  of 
Parliament  without  opportunity  for 
change  and  amendment. 

It  is  not  as  if  A.C.T.T.  alone  is 
objecting  to  this  course.  For  once 
the  whole  industry  appears  to  be 
united  on  the  fact  that  changes  are 
needed,  even  if  views  differ,  as  they 
must  do,  as  to  what  changes  are 

Joint   Protest 

All  the  Trade  Unions  and  the 
B.F.P.A.  have  jointly  protested  to 
the  Government,  and  so,  we  under- 
stand, have  many  other  trade 
bodies.  As  a  result  of  these  pro- 
tests, and  in  reply  to  a  question  in 
the  Lower  House  from  Mr.  Stephen 
Swingler,  the  President  of  the 
Board  of  Trade  has  been  obliged  to 
give  an  undertaking  that  later  in 
the  year  he  will  consult  the  Cine- 
matograph Films  Council  and  all 
sections  of  the  industry  about  de- 
tailed amendments  to  the  Quota 

Amplifying  this,  Lord  Mancroft 
said  in  the  Lords  that  these  dis- 
cussions will  begin  just  as  soon  as 
the  present  Bill,  and  regulations 
made  under  it,  are  completed  with 
a  view  to  legislation  as  soon  as 
possible  after  that. 

In  the  meantime  the  Government 
will  use  its  powers  to  get  the  pre- 
sent Bill  on  the  Statute  Book,  un- 

Anyone  who  takes  the  trouble  to 
read  the  Hansard  report  of  the 
Lords  debate  will  be  well  rewarded. 
He  will  find,  for  instance,  that  the 
noble  lords  sit  only  two  days  a 
week,  one  day  from  2.30  to  7  p.m. 
and  on  the  other  from  3  to  7.30 
p.m.  Although  these  working 
hours  compare  favourably  with  the 
A.C.T.T.-B.F.P.A.  Agreement,  it  is 
instructive  to  note  that  in  addition 


Ralph  Bond 

to  the  Cinematograph  Films  Bill 
their  lordships  also  found  time  to 
consider,  during  these  arduous 
working  hours,  the  Hastings  Tram- 
ways Bill,  the  Dentists'  Bill,  the 
Ghana  Independence  Bill,  Egypt, 
and  the  Public  Trustee  (Fees)  Bill! 

"  I   am   Getting  Tired  " 

All  this  hard  work  obviously  had 
an  effect  on  Lord  Mancroft,  the 
Government  spokesman  on  the 
Films  Bill;  at  one  stage  he  said: 
"  I  should  like  to  finish  the  Bill  on 
Tuesday  night  because  1  am  get- 
ting a  little  tired  of  it  ".  To  which 
Lord  Lucas,  Leader  of  the  Oppo- 
sition, very  properly  replied:  "  I 
have  not  succeeded  in  one  of  my 
amendments,  but  I  am  not  tired  ". 

We  cannot  be  satisfied  with  the 
way  the  Government  is  forcing  this 
Bill  through  both  Houses,  despite 
the  promises  of  "  later  consulta- 
tion ". 

The  changes  that  A.C.T.T.,  in 
association  with  the  other  Unions, 
desire,  are  of  a  fundamental 
character.  We  want  a  much  clearer 
definition  of  what  characterises  a 
"British"  film.  At  the  present  time 
it  is  possible  for  a  film  to  be  made 
without  any  United  Kingdom  tech- 
nicians being  employed,  and  still 
qualify  for  British  Quota. 

The  present  Act  requires  that  to 
be  "  British  "  a  film  must,  among 
other  things,  be  made  in  a  studio 
within  Her  Majesty's  Dominions, 
and  that  a  required  percentage  of 
the  labour  costs  involved  shall  be 
paid  to  British  subjects. 

We  are  suggesting  in  both  cases 
that  the  words  "United  Kingdom" 
shall  be  substituted,  so  as  to  pro- 
tect the  employment  position  of 
A.C.T.  T.  and  other  Union  members. 

Lord  Farringdon  tabled  the 
appropriate  amendments  in  the 
House  of  Lords  for  this  purpose, 
but  the  Government  strongly  resis- 
ted them. 

We  also  suggest  that  a  further 
definition  be  added  to  the  effect 
that  for  a  film  to  be  "  British  "  the 
makers  must  ensure  that  not  less 
than  95  per  cent  of  the  laboratory 
processing  costs  shall  be  incurred 
with  a  laboratory  in  the  United 

An  amendment  to  secure  this 
new  provision  was  also  tabled  by 
Lord  Farringdon,  but  met  with  a 
similar  fate. 

What  other  changes  do  we 
want?  All  the  Unions  are  now 
agreed  that  Renters'  Quota  should 
be  restored.  As  I  mentioned  in  my 
article  last  month,  this  was  origin- 
ally an  integral  part  of  the  Act, 
but  was  dropped  in  1948.  At  that 
time,  A.C.  r.T.  and  others,  were 
confident  that  British  films  could 
at  last  stand  on  their  own  feet,  and 
consequently  we  did  not  oppose  the 
elimination  of  the  Renters'  Quota 

Events  in  the  last  ten  years  have 
not  justified  these  hopes.  Despite 
everything,  our  share  of  our  own 
exhibition  market  is  still  only  30 
per  cent.  Hollywood  films  are  as 
powerfully  entrenched  as  ever,  and 
there  is  no  obligation  on  the  im- 
porters of  these  films  to  make  any 
British  films  at  all. 

Few  would  disagree  that  many 
more  British  films  could  be  made, 
and  the  exhibitors  are  not  al- 
together without  reason  in  com- 
plaining that  although  they  are 
required  by  law  to  show  a  fixed 
percentage  of  British  films,  there 
is  no  statutory  obligation  on  any- 
one to  make  them.  There  is  there- 
fore a  powerful  argument  for  a 
new  Renters'  Quota  which  would 
oblige  all  the  importers  of  foreign 
films  to  make  or  acquire  a  pro- 
portion of  British  products. 

The  Government  will  resist  this 
proposal  because  it  will  cause 
offence  to  Hollywood,  and  will, 
they     say.     be     contrary     to     the 


Index  Vol.  22    -     1956 



A.C.T.  CHANGE  OF  NAME      43 

A.C.T.   COMMITTEES       61 


Suspended  Alibi       165 

The    Jury         21,37.76 

The  Last  Man  to  Hang     133 


Best   in  Our  History    (Editorial)        35 

President's   Speech  39 

Report  of  Debate  40,  41,  42,  43 


B.F.P.A.   AGREEMENT  , 52 


American    Cinematographer    Handbook        138 

Commercial  Television  Year  Book      58 

Elsevir's  Dictionary  of  Cinema,  Sound  and  Music 185 

Hi-Fi   Loudspeakers   and   Enclosures  138 

How  Films  Are  Made      125 

How  to   Write   Film    Comedies  58 

Kemps  TV  Directory        138 

Sunshine    and    Champagne         165 

Sunshine  and  Shadow 155 

CAMERA    COLUMN  5,  22,  60,  72 

CAMERA  OF  1910  86 





DERMATITIS  5,  42    168 



21st  Anniversary      I..         \3 

The  Early  Days  6,  7 

"  Birthday  Party  "     7,   14 

"  Twenty-one   Years,"    by   Harold   Myers        8,  9,  10,  11 

Illness  148 


Without  Prejudice  3 

We  are  Not  Alone  19 

Best  A.G.M.  in  Our  History      35 

The   Cost   of  Living  51 

"  Not   bloody   likely  "       67 

A  Policy   for  British   Films       83 

Some   Basis   for  a   Policy  115 

Prepare   for   these   debates        163 

Not    Good    Enough  ? 179 

FILM  AND  TV  ROUND-UP      13,  29,  45,  59,  70 


FILMING  ROUND  THE  WORLD,  Talk  by  S.r  Arthur  Elton 54 

GENERAL  COUNCIL  IN  SESSION  28,  75,  92,   107,  124,  140,  157,  172,  188 

GENERAL  SECRETARY  WRITES  4,  20,  52,  68,  69,  100 

GOVERNMENT  AND   FILMS  115,  163^  179 

GUIDE  TO  BRITISH  FILM  MAKERS       15,  30,  46,  62,  63,  77,  78,  94,  95,  109,  110,  127.  142,  158,  159 




Lab  Topics      5,  22.  36,  56,  69,  70,  87,  105,  126,  148,  168,  187 

Case    for   New    Agreement        100 

George   Humphries — a  Correction       171 

Humphries'  New  Laboratory     53 

Letter  on  21st  Anniversary       Ig5 

New  Agreement  Accepted  181 

Pioneers    Remember         153 

President  Congratulates  Labs  147 

Proposals    for   Lab    Agreement  92 

Twenty-one  Years   of  Struggle  150 

Why  Labs  want  a  New  Agreement  73 





Arthur  Barnes  

George    Burgess        

Arthur     Dent 

George  Gresty 

Sir   Alexander    Korda        

Erin  Lindegaard      

Billy    Russell  ..."         

F.   A.   Teather  






"RUSHES".    By  "  Focus  "      



TECHNICIANS'  CREDITS.    See  Guide  to  British  Film  Makers 



How  we  get  on  the  air      

ITV— a  Policy  for  Balance  

Time,  Space  and  the  I.T.A 

TV  Branch  Formed  

TV  Producers'  and  Directors'  Dance 

TV  Producer-Directors'  Section  

Twenty  Years  of  Television       





















12,  27,  44,  55,  74,  92.  125.  139,  156.  167.  183 


183,  188 




11.  57,  75,  91,  101,  135.  156.  169.  182 

11.  21,  38.  71.  72.  86.  122.  134.  164.  180 






106,  155 




, 24 


83,   84 





Co-ops  in  Action        

They  Started  a  Revolution  


National  Film  Finance  Corporation  Report  

Observer  Film  Exhibition  

BOWER,  DALLAS.    Twenty  Years  of  Television  


Five  Shillings  a  Day  Holiday 

They  Start  on  April  Fool's  Day  

U.S.  Film  Squeeze  in  Japan       

COOPER,  ALF.    Lab  Topics      

COX,   STEVE.     Shorts  &  Documentary  Section   Report  

DAVIS,  DESMOND.    Time,  Space  and  the  I.T.A 

DICKINSON,  THOROLD.    Paris  Stocktaking       

ELTON,  Sir  ARTHUR.    Filming  Round  the  World   (talk)     

ELVIN,  GEORGE  and  BOND,  RALPH.     T.U.C.   Report         

ELVIN,  GEORGE  and  WHEELER,   CHARLES.    Trade  Union  Talks  in  Rome 

"FOCUS".     Rushes  

GREEN.    ERNEST.     Sorry— It's   Education  

HARDY,   FORSYTH.    Years  of  Constant   Struggle       

HARRIS,   LOUIS.     Three-headed   Editor  Required       

JEAKINS,  A.  E.,  Technician's  Note  Book 

LAUNDER,  FRANK.     Sir  Alexander  Korda         

LEWIS,   MORTON.    Film  and  TV  Round-up       

McLEOD,  LEWIS.     Dynamic  Frame  Technique 


Labour  Party  Conference 

Organiser's  Page     12. 

MILROY,  VIVIAN.     How  we  get  on  the  air       

MYERS,  HAROLD.    Twenty-one  Years       

ORNA.  B.  and  E.    Camera  of  1910      

TWIST.  DEREK.    Rank  Organisation  Report     

WHEELER,  CHARLES  and  ELVIN.  GEORGE.    Trade  Union  Talks  in  Rome 
WHITTEMORE,  BILL.  Why  Labs  Want  a  New  Agreement 

22,  56.  69.  87.  105.  126.  148.  168 
11.  57.  75.  91,  101,  135.  156.  169 



67.  68 










11,  21,  38.  71.  72.  86.  122 


13.  29.  45.  59.  70 



27,  44.  55.  74.  92.  125.  139.  156.  167.  183 







February  1957 



Geneva  and  Havana  Agreements 
on  Tariffs  and  Trade.  Our  concern 
is  not  with  these  Conventions,  but 
with  providing  the  means  for  a  big 
expansion  of  the  British  film  pro- 
duction industry,  and  if  G.A.T.T. 
prevents  this,  it  is  up  to  the  Gov- 
ernment to  get  tough.  France  and 
Italy  are  parties  to  G.A.T.T.  but 
their  Governments  can  find  ways 
and  means  to  help  their  film  in- 
dustries.   Why  can't  ours? 

Up  to  AH  of  Us 

By  the  time  you  read  this  article 
the  debate  in  the  House  of  Lords 
will  have  concluded,  and  the  Bill 
will  have  had  its  third  reading. 
Now  it  will  go  to  the  House  of 
Commons  for  the  same  procedure. 

It  is  important  that  every  effort 
be  made  to  challenge  in  the  Com- 
mons the  Government's  arbitrary 

So  please  write  or,  better,  see 
your  M.P.  Even  if  you  don't  like 
writing  letters  this  is  the  one 
occasion  when  your  own  personal 
interests  are  vitally  affected.  It's 
up  to  all  of  us. 

Death  of 

Percy  Hermes 

The  sudden  death  of  Percy 
Hermes  wili  come  as  a  shock  to 
all  who  knew  his  lovable  and 
amusing  personality. 

Percy  entered  the  industry  with 
Henry  Edwards  at  Teddington 
Studios  in  1931,  remaining  when 
Warner  Bros,  took  over.  When  war 
broke  out  he  joined  Launder-Gilliatt 
Productions  as  their  Permanent 
First  Assistant  Director,  and  re- 
mained with  them  for  many  years. 
Of  late  he  had  been  engaged  on 
work  for  Douglas  Fairbanks  Pro- 

During  his  twenty-five  years  in 
the  studios  he  had  amassed  credits 
on  nearly  three  hundred  produc- 

His  son  Douglas,  also  an  Assis- 
tant Director,  to  whom  we  extend 
our  deep  sympathy,  carries  on  the 
tradition.  He  has  been  set  high 
standards  by  the  respected  and 
popular  Percy  who  will  be  sorely 
mis'sed  in  those  places  where  pic- 
tures are  made  with  an  occasional 
laugh  as  well  as  with  keen  effi- 


Shorts  and  Documentary  Section 



I  am  sure  that  our  Section  Com- 
mittee and  all  the  members  who 
have  attended  will  agree  that  our 
shows  on  the  Films  We  Make  are 
giving  great  satisfaction. 

Our  second  show.  People,  Not 
Things,  at  the  Mezzanine  Theatre, 
Shell  Mex  House,  was  even  better 
attended  than  the  first. 

The  first  film  shown,  Thursday's 
Children,  was  introduced  by  Direc- 
tor Guy  Brenton,  who  also  wrote 
the  script.  He  explained  how,  un- 
sponsored,  the  Unit  set  out  to  por- 
tray the  teaching  of  deaf  children, 
whose  ages  range  from  four  to 
seven  years,  and  how,  when  funds 
were  exhausted,  Jimmy  Carr  of 
World  Wide  Pictures  stepped  into 
the  breach  and  sponsored  the  film 
through  the  editing,  dubbing  and 
final  stages. 

Guy  went  on  to  say  that  the  film 
won  an  Oscar  in  1954.  It  repre- 
sented Britain  at  the  1954  Venice 
Festival  and  was  awarded  a  prize 
in  Edinburgh.  Yet  after  all  this 
the  big  circuits  refused  to  book  it. 
However,  eventually  it  was  booked 
and  shown  at  the  Granadas. 

The  second  film,  Continuous 
Observation,  was  written  and 
directed  by  Margaret  ("Tommy") 
Thomson  for  Basic  Films  and  spon- 
sored by  the  Ministry  of  Health 
for  the  training  of  nurses  in  mental 

For  Nurses 

"Tommy"  introduced  the  film, 
explaining  that  it  was  made  speci- 
ally for  nurses  dealing  with  the 
care  and  treatment  of  patients 
suffering  from  psychosis.  The  film 
showed  the  early  experiences  of  a 
young  nurse  training  in  a  hospital 
for  mental  cases. 

A  very  lively  discussion  followed 
the  showing  of  the  films.  In  the 
course  of  this  the  view  was  ex- 
pressed that  apart  from  sponsor- 
ship and  distribution,  both,  of 
course,  important  factors,  the 
script  is  vital,  and  to  make  good 
films  more  time  is  needed  at  the 
treatment  and  script  stages.  Also, 
it  was  urged,  films  should  contain 
the  human  element  because  people 
are  interested  in  people,  yet  there 

is  a  vast  number  of  productions 
churned  out  with  a  monotonous 
voice,  droning  on  and  on. 

Well,  now  I  know  that  if  and 
when  I  ever  become  a  Producer — 
no  comments,  please! — I  shall 
want  a  good  sponsor,  give  my 
director  plenty  of  time  on  the 
treatment  and  script,  not  too  long, 
though,  and  I  shall  want  good  dis- 
tribution to  get  the  sponsor's 
money  back. 

On  behalf  of  the  Committee  I 
would  like  to  thank  all  those  who 
attended  and  made  the  show  the 
success  it  was. 

Rushed   to   Middle  East 

Now  for  an  item  of  news.  I  re- 
cently met  Director  George  Sturt, 
who  was  out  in  Ceylon  for  four  and 
a  half  years  working  for  the  Ceylon 
Government.  Two  months  after  his 
return  here  he  was  lushed  off  to 
the  Middle  East  to  direct  Jack 
Howell's  picture  Journey  from  the 

Jack  wrote  the  script  and  pro- 
duced the  film,  Cyril  Arapoff  was 
Cameraman,  and  Terry  Trench  was 
the  Editor.  I  believe  these  have 
been  mentioned  in  this  column  be- 
fore, so  I  will  add  that  Jack,  who 
was  in  hospital  is  back  in  his  pro- 
ducers' chair.  Cyril  is  due  back 
from  the  Gold  Coast  shortly  and 
Terry,  to  my  knowledge,  is  ^till 
basking  in  the  Australian  sun. 

Cover  Still 

Jimmy  Edwards,  as  Harris,  in 
Three  Men  in  a  Boat,  gets  tough 
with  a  Zoo  parrot. 

L  Still  by  Ray  Hearne. 



Editorial  Office: 
2  Soho  Square,  W.l 

Telephone:     GERrard   8506 

Advertisement   Office: 

5  and  6  Red  Lion  Sq.,  W.C.I 

Telephone:    HOLborn  4972 



February  1957 

The  winter  issue  of  "  Bulletin  ", 
organ  of  IATSE,  our  counterpart 
in  the  U.S.A.,  throws  an  interest- 
ing light  on  union  affairs  over 
there.  It  seems  the  Sound  Section 
there  are  as  much  in  the  vanguard 
as  here.  In  a  large  box  on  one 
page  is  notice  of  a  substantial 
wage  increase  and  a  cut  in  the 
working  week  from  44  to  40  hours 
for  R.C.A.  sound  maintenance  men. 

The  final  paragraph  of  the  notice 
would  ring  a  bell  for  sound  mem- 
bers. It  refers  to  violations  of  the 
44-hour  week  and  asks  members  to 
submit  copies  of  their  time-sheets 
when  this  has  occurred. 

An  item  for  the  Television  Pro- 
gramme Contractors  :  Seattle 
members  of  the  union,  helping  in  a 
state-wide  campaign  to  popularise 
the  buying  of  goods  bearing  a 
union  label,  made  a  brief  television 
film  on  the  subject.  The  three 
local  stations  showed  the  picture 
free  on  their  allotted  public  service 

Among  the  five  new  designs  of 
Christmas  cards  sold  in  1956  by 
the  Motion  Picture  Relief  Fund, 
the  first  two  selected  by  the  judges 
were  the  work  of  the  Hollywood 
Scenic  Artists  Branch.  Said  their 
secretary,  "  We  are  proud  of  our 
members.  They  were  competing 
with  art  directors  and  high-rank- 
ing artists  of  the  nation  ".  .  . 

A  note  for  the  Publicity  Section  : 
When  Local  (818)  (Publicists)  held 
its  annual  party  one  of  the  guests, 
a  young  star,  made  her  entrance 
on  a  baby  elephant,  and  Miss  Jayne 
Mansfield  attended  in  a  miniature 
leopard's       skin       bikini.  (How 

"  miniature  "  can  a  bikini  get?) 

South   Africa 

Freedom  is  having  a  tough  time 
of  it  in  many  parts  of  the  world 
these  days  and  not  least  in  South 
Africa.  Skimming  through  the 
pages  of  the  I.L.O.  review,  usually 
packed  with  .such  information  as 
the  fact  that  Afghanistan  has  rati- 
fied one  ILO  convention  since  that 
body's  formation  in  1919,  I  came 
across  the  following  piece  of 
vicious  legal  jargon  from  the  South 
African  Industrial  Relations  Act 
1956.     In  the  section   dealing  with 

definitions,  the  Act  states:  "  A 
'  coloured  person  '  means  a  person 
who  is  not  a  white  person  or  a 
native,  a  '  white  person  '  means  a 
person  who  in  appearance  ob- 
viously is,  or  who  is  generally 
accepted  as  a  white  person,  but 
does  not  include  a  person  who, 
although  in  appearance  obviously 
white,  is  generally  accepted  as  a 
coloured   person  ". 


Members  will  be  glad  to  hear, 
following  the  generous  response  to 
the  TUC  appeal,  that  the  Hun- 
garian TUC  has  written  thanking 
the  TUC  for  their  help. 

No  Assistants  ? 

The  Rank  Organisation  is  noted 
for  its  excellent  publicity.  Re- 
cently it  took  a  half-page  in  The 
Times  for  an  advertisement  that 
depicted  the  whole  production 
team  from  production  manager 
to  clapper-boy  all  standing  on  the 
set.  A  chart  by  the  large  photo- 
graph (on  which  several  A.C.T.T. 
members  were  recognisable)  indi- 
cated the  various  jobs.  I  scrutin- 
ised the  list,  found  there  were  full 
crews  but  for  some  reason  or  other 
only  the  First  Assistant  Director 
was  included.  A  film  at  Pinewood 
without  second  and  third  assistants 
is  rare  to  the  point  of  being  non- 


I  have  been  asked  to  reassure 
our  members  in  Associated-Re- 
diffusion  TV  about  redundancy 
rumours  in  this  company.  I  have 
it  from  most  authoritative  and  re- 
liable sources  that  there  are  to  be 
no  dismissals  among  those  con- 
cerned with  the  writing,  trans- 
mission, and  distribution  of  memos. 
If  anything,  there  is  likely  to  be 
an  increase  in  this  work. 

"  Young   Film  " 

I  have  a  copy  of  "  Young  Film  " 
before  me,  a  new  publication  put 
out  by  the  International  Union  of 
Students,  and  meant  for  young 
people  working  in  or  interested  in 
films.  It  is  an  interesting  develop- 
ment   when    a    magazine    published 

in  Prague  has  a  back  page  still  of 
Miss  Diana  Dors.  The  magazine 
has  a  more  serious  side  with 
articles  on  films  made  by  the 
Prague  High  School  of  Cinemato- 
graphy. A  quote  from  the  caption 
under  a  cartoon,  a  jaded  producer 
speaking  :  "  Oh,  it's  the  same  old 
story  .  .  .  mad  scientist  meets  ape- 
girl,  ape-girl  throws  mad  scientist 
into  volcano,  werewolf  bites  ape- 
girl,  elephant  boy  marries 
daughter  of  vampire." 

Congratulations  to  Mr.  and  Mrs. 
Alan  Blay  on  the  birth  of  a 
daughter,  Susan  Ann,  on  7th  Feb- 
ruary. Both  mother  and  daughter 
are  doing  well.  Alan  Blay  is  our 
deputy  steward  at  Shepperton 
Studios,  and  our  members  there, 
particularly  the  sound  department, 
extend  their  best  wishes  to  the 

Our  stills  members  have  lost  an 
old  friend  and  colleague  in  Frank 
Bourne,  who  died  recently  in  hos- 
pital. He  had  been  in  bad  health 
for  some  time,  but  before  that  he 
had  always  been  an  enthusiastic 
member  of  the  union  and  parti- 
cularly of  the  stills  section.  He 
joined  the  A.C.T.T.  in  1938  and  will 
be  remembered  and  missed  by 
many  old  friends  in  the  business. 


Cover  Competition 

First  prize  of  £10  10s.  Od. 
in  the  competition  for  our 
new  cover  has  been 
awarded  to  Jack  Timms. 
The  second  prize  of 
£3  3s.  Od.  has  been  awarded 
to  Albert  W.  lTrry.  Nine 
entries  were  received  and 
the  Journal  Committee 
would  like  to  thank  all 
entrants  fur  the  high 
standard  of  work  sub- 

February  1957 



Lab  Topics 


OUR  Shop  Steward  at  Radiant 
Color  Laboratories,  Slough, 
tells  us  that  work  is  still  going  on 
and  that  they  have  a  hope  of  this 
laboratory  remaining  open.  All  our 
members  who  became  redundant  a 
short  while  ago  have  not  been  fixed 
up  with  jobs  yet,  as  there  seems  a 
reluctance  among  some  of  them  to 
move  from  the  Slough  area.  How- 
ever, one  has  obtained  employment 
at  Pinewood  Studios. 

The  Technicolor  Shop  has  now 
started  the  experiment  of  subscrip- 
tions being  stopped  at  source  each 
week,  as  agreed  by  the  General 
Council  some  little  while  back,  and 
it  is  felt  by  many  of  us  that  one 
of  the  biggest  headaches  in  a  large 
shop  such  as  this  is  about  to  end. 
Many  of  the  members  are  really 
keen  on  this  idea,  but  it  is  only 
fair  to  report  that  some  are  not 
too  happy. 

The  shop  committee  hope  that  as 
I  he  idea  gets  into  full  swing  every- 
body will  realise  that  it  is  a  good 
system,  with  more  good  points  than 
bad  ones.  To  the  really  good  Trade 
Unionist,  who  cannot  afford  a 
year's  subscription  in  advance,  it 
certainly  is  a  comfort  to  know  that 
at  all  times  he  is  in  good  standing 
with  his  brothers,  and  that  the 
union  is  able  to  plan  ahead  and 
meet  all  its  financial  obligations 
because  its  revenue,  part  of  which 
he  supplies,  is  getting  to  Head 
Office  regularly  each  week.  Shift 
work  of  members  and  collectors 
has  caused  people  in  the  past  to 
be  weeks  in  arrears  many  times 
per  year.  This  will  now  not  be 

Weeks  of  Rumour 

After  many  weeks  of  rumour  it 
is  now  a  fact  our  lads  at  Olympic 
are  under  the  Rank  banner.  Sid 
Bremson,  who  has  worked  with 
both  sets  of  Lab  boys,  and  at  the 
moment,  as  you  all  probably  know, 
is  working  at  the  Rank  Labora- 
tories, Denham,  reports  the  follow- 

"  The  taking  over  of  Olympic 
Kinematograph  Laboratories  by 
the  Rank  Organisation  on  4th  Feb- 
ruary brings  the  flood  of  rumours 
which  have  been  circulating  for  the 
last  month  or  two  to  an  end. 

Olympic  Labs  have  been  more  or 
less  '  on  the  market '  for  the  last 
five  years,  and  some  four  years 
ago  Republic  Pictures  Corporation 


A  If  Cooper 

nearly    bought    them    up,    but    the 
deal  never  went  through. 

Leaving  the  controversial  side  of 
the  Rank  deal  out  of  these  notes 
altogether,  may  I,  as  an  '  Ex- 
Olympian  ',  welcome  the  boys  and 
girls  of  Olympic  to  the  same  pay 
roll,  if  not  to  the  same  building, 
and  pass  on  to  them  the  first-hand 
information  given  to  both  George 
Irons  and  myself  by  Mr.  Bill  Har- 
court,  Managing  Director  of  Rank 
Laboratories,  in  the  hope  of  alle- 
viating any  fears  for  the  future 
that  may  be  in  their  minds. 

Olympic  is  to  be  used  exclusively 
for  Black  and  White  processing, 
all  colour  will  be  centred  at  Den- 
ham, leaving  North  Acton  free  to 
concentrate  on  their  normal  Black 
and  White  plus  the  additional  foot- 
age that  will  be  sent  there  from 
Denham.  This  includes  16mm.  as 
well  as  35mm.  It  is  expected  that 
output  processing  at  North  Acton 
will  be  so  increased  as  to  make  it 
possible  that  we  shall  have  to  in- 
crease the  staff;  redundancy  at 
Olympic  is  certainly  not  contem- 
plated. The  jobs  there  are  safe. 
Mr.  Harcourt  further  told  us  that 
it  was  intended  to  have  key  per- 
sonnel from  Olympic  spend  some 
time  at  Denham  and  vice-versa. 
In  that  way  each  will  get  to  know 
and  find  out  how  the  other  operates. 

I  understand  that  a  letter  ter- 
minating their  employment  by 
Paramount  has  been  received  by 
all  personnel  working  at  Olympic 
and  Paramount  take  the  oppor- 
tunity of  thanking  members  for 
their  long  and  loyal  service,  but 
make  no  reference  to  an  ex  gratia 
payment  for  that  loyal  service.  It 
might  well  be  that  this  great 
American    company    with    all    its 

frozen  assets  in  this  country  could 
not  itself  unfreeze  sufficiently  to 
include  in  that  letter  some  pittance 
for  loss  of  office,  good  will  or  what- 

Let  us  hope  that  they  will  be 
more  generous  to  our  Paramount 
Newsreel  members  when,  by  put- 
ting out  the  final  issue  on  14th 
February,  they  will,  after  twenty- 
six  years'  loyal  service,  be  putting 
themselves  out  of  a  job." 

The  A.G.M. 

Laboratory  members  total  some- 
thing like  one-third  of  the  member- 
ship of  our  Union.  Here  it  comes 
lads,  don't  forget  that  9th  and  10th 
March  is  A.C.T.T.'s  24th  Annual 
General  Meeting,  and  a  large — 
very  large — number  of  us  should 
make  a  date  to  be  there.  The 
laboratories  are  a  really  important 
section  of  this  industry,  some  of  us 
thing  the  most  important.  That 
may  not  be  quite  true,  but  to  those 
of  us  in  the  section  it  is  important 
that  the  incoming  General  Council 
shall  know  well  in  advance  our 
requirements  in  the  coming  year. 
Only  by  attending  the  A.G.M.  can 
you  make  them  aware  of  your  own 
point  of  view,  and  that  we  are  a 
section  made  up  of  keen  and  reso- 
lute members. 

Remember,  the  laboratories  over 
this  last  year  or  two  have  had  a 
tendency  to  decrease  rather  than 
increase — getting  together  after 
the  event  is  too  late — we  have  got 
to  find  an  answer  to  maintaining 
continued  employment  for  us  all 
now,  and  only  by  getting  together 
as  often  as  possible  can  the  best 
methods  and  ideas  be  obtained.  A 
virile  and  well-supported  organisa- 
tion is  by  far  the  best  weapon 
when  meeting  opposition  to  any 
schemes  or  ideas  that  an  organisa- 
tion such  as  ours  is  trying  to  put 
into  effect. 

Suspended  Alibi 

A.C.T.  Films  latest  completed 
production.  Suspended  Alibi, 
commences  a  full  Odeon  Cir- 
cuit release  on  25th  February. 



February  1957 

Letters  to  the  Editor 


I  should  like  to  take  up  Vivian 
Milroy's  estimation  that  Unions,  or 
our  Union,  should  not  criticise  TV 
programmes  because  "  such  mat- 
ters might  be  said  to  be  outside  the 
province  of  Trade  Unionism  ". 

My  annoyance  is  not  that  unions 
should  take  up  very  earnestly  the 
art  of  public  relations,  for  that  is 
what  it  is,  but  that  our  trade  union 
movement  doesn't  even  know  the 
subject,  and  that  to  its  detriment. 

As  Vivian  Milroy  will  agree,  it's 
the  trade  union  movement  which 
protects  and  advances  the  real 
social  and  economic  interests  of 
the  people.  Yet  on  such  public 
relations  we  are  asked  to  mind  our 
own  business. 

Various  American  unions  have 
shown  their  maturity  when 
they  express  their  organised  be- 
liefs, not  merely  through  simple 
press  statements  or  even  television, 
but  through  films,  such  as  Brother- 
hood of  Man  (Automobile  Workers' 
Union).  The  Japanese  unions 
(N.U.T.  &  E.T.U.)  have  campaigned 
for  their  members  and  citizens 
alike,  against  the  H-bomb  tests  by 
sponsoring  and  producing  films  on 
the  subject. 

I  hope  my  brief  examples  show 
that  there  is  a  principle  of  impor- 
tance at  stake  here,  especially  in 
these  days  when  the  offensive  is 
against  the  basic  rights  of  trade 
unionism,  which  at  least  I  trust 
Vivian  Milroy  accepts. 

There  are  a  growing  number  of 
people  who  would  restrict  the  in- 
terests of  Trade  Unions  to  purely 
working  conditions. 

As  to  whether  the  actual  Press 
statement  in  question  was  correct 
or  at  fault  I  do  not  know.  But  I 
do  agree  that  our  General  Council 
should  issue  such  statements  if  it 
considers  it  in  the  interests  of  our 
members  and  the  public. 

Yours  sincerely, 

Lewis  McLeod. 

Vivian  Milroy  in  his  article 
seems  to  forget  that  the  film  and 
I'V  industries  are  more  than  just 
businesses — they  arc  arts  as  well. 

Whether  they  are  healthy  or  not 
depends  on  artistic  as  well  as  on 
economic  factors,  and  very  often 
the  two  are  linked.    Surely,   there- 

fore, it  is  very  much  the  business 
of  A.C.T.  T.  to  be  concerned  about 
what  its  members  help  to  produce 
for  the  cinema  and  cathode  ray 
screens  of  the  country. 

This  argument  is  well  illustrated 
by  the  case  of  the  cinema  news- 
reels,  which  in  their  presentation 
have  for  a  number  of  years  been 
extremely  conservative  (in  the 
political  sense  of  the  word,  too, 
incidentally);  they  are  very  old- 
fashioned  in  their  choice  of  sub- 
ject and  in  their  treatment  of  these 
subjects,  and  this  has  been  one  of 
the  major  reasons  why  cinemas  are 

beginning  to  do  without  them. 
Therefore,  for  aesthetic  reasons 
our  newsreel  and  laboratory  mem- 
bers are  suffering  economically. 

But  I  think  there  is  a  further 
point  as  well  :  there  always  seems 
to  me  to  be  very  much  more  satis- 
faction in  turning  out  a  good  and 
worthwhile  product,  whether  it  be 
newsreel,  TV  programme,  feature 
or  short,  because  both  as  indivi- 
duals and  as  Union  members  we 
like  to  feel  proud  of  what  we  do. 

Yours  faithfully, 

Christopher  Brunei. 

General  Council  in  Session 


PARAMOUNT  NEWS.  The  Acting 
General  Secretary  reported  that 
the  Manager  of  Kay  Laboratories 
had  been  in  touch  with  him  re- 
garding the  ban  on  the  processing 
of  Sportsmen)  for  the  B.B.C.  which 
had  originated  at  Olympic.  Sub- 
sequently Kay's  had  issued  a  press 
statement  on  the  matter.  Strong 
rumours  of  a  take-over  of  Olympic 
Laboratories  and  Paramount  News 
by  the  J.  Arthur  Rank  Organisa- 
tion were  reported,  and  in  view  of 
the  problems  created,  not  only  in 
regard  to  our  members  at  Olympic 
over  the  processing  of  Sportsview, 
but  other  problems  which  might 
arise  including  redundancy  if  the 
rumours  proved  correct,  the  Exe- 
cutive Committee  authorised  Head 
Office  to  take  whatever  action 
appeared  necessary. 

It  was  also  agreed  that  the 
Legislation  Committee  should  con- 
sider at  an  early  date  the  whole 
problem  of  the  Rank  Organisation 
in  relation  to  the  Monopolies  Act. 
Subsequently  an  Organiser  saw  the 
Manager  of  Olympic  Labs  together 
with  the  Shop  Steward  when  the 
changeover  to  the  Rank  Organisa- 
tion was  confirmed    (see  page  27). 

cutive Committee  also  considered 
Paramount  News,  where  the  mem- 
bers have  all  been  in  the  company's 
service  for  many  years  and  most 
of  them  are  near  retirement  age, 
although  they  are  not  covered  by 
any  pension  scheme.  It  was  agreed 
that  the  Acting  General  Secretary 
and  the  Organiser  should  press  for 

an  early  meeting  with  the  manage- 
ment to  ascertain  their  intentions, 
and  if  the  intention  is  to  dispense 
with  the  services  of  any  of  our 
members  we  should  press  for  some 
form  of  remuneration  by  the  com- 
pany equivalent  to  what  the  mem- 
bers concerned  would  have  obtained 
had  a  pension  scheme  been 

The  Council  was  told  that  Para- 
mount refused  to  meet  A.C.T.T. 
and  discuss  compensation  for  Para- 
mount News  staff,  and  it  was 
agreed  to  reply  that  it  was  our 
duty  to  protect  our  membership 
and  we  reserved  the  right  to  take 
any  action  in  the  matter;  it  was 
also  agreed  to  prepare  a  case  in 
conjunction  with  our  newsreel 
members  for  a  public  campaign 
over  Paramount's  refusal  to  dis- 
cuss the  problem  with  the  Union. 

SPORTSVIEW.  After  considerable 
discussion  of  the  situation  on 
Sportsvieiv  it  was  agreed  that  the 
material  for  this  programme  could 
go  to  any  British  laboratory  pre- 
pared to  pay  the  rates  negotiated 
with  A.C.T.T.,  instead  of  being  sent 
abroad  for  processing.  The 
Manager  of  Rank  Laboratories, 
Denham,  was  reported  as  saying 
that  as  far  as  he  could  see,  the 
take-over  of  Olympic  would  not  re- 
sult in  any  redundancy,  but  he 
could  not  guarantee  this.  The 
Council  instructed  Head  Office  to 
seek  guarantees  for  any  members 
shifted  from  one  lab  to  another. 

Steward,  Bob  Langdon,  reported  to 

February  1957 



the  Council  that  the  company  had 
declared  a  20 %  redundancy  with 
effect  from  the  following  week  on 
the  grounds  of  trade  recession  in 
the  home  and  overseas  markets. 
The  A.C.T.T.  and  A.E.U.  members 
in  the  factory  had  immediately  de- 
clared an  overtime  ban  (except  for 
maintenance)  and  had  passed  a 
resolution  saying  that  there  should 
be  a  4-day  week  in  place  of  re- 
dundancy; the  company  had  turned 
this  down.  Paddy  Leech  was  in- 
structed to  take  up  the  matter 
immediately,  and  the  Council  re- 
solved to  congratulate  the  B.A. 
Shop  on  its  action  to  combat  re- 
dundancy, to  assure  the  members 
of  the  Council's  support  and  to 
congratulate  the  Steward  on  his 
reporting  of  the  matter. 

N.S.S.  LABS.  Bessie  Bond  reported 
that  the  company  was  being  diffi- 
cult about  operating  the  recent 
Laboratory  increase.  The  manage- 
ment said  they  were  in  a  different 
category  from  other  laboratories 
who  depend  on  outside  customers 
to  give  them  work.  They  existed 
entirely  on  their  own  and  the  lab. 
was  running  at  a  loss.  They  have 
offered  50%  of  the  increase.  The 
Council  agreed  that  the  Organiser 
should  press  for  the  payment  of 
the  full  increase. 


Bert  Craik  reported  on  a  letter 
received  from  the  British  Film 
Academy,  requesting  a  meeting  to 
consider  the  possibility  of  reviving 
a  training  scheme  in  the  industry. 
After  considerable  discussion  the 
E.C.  agreed  to  appoint  representa- 
tives to  the  meeting  and  to  ask  the 
Academy  for  copies  of  the  paper 
which  they  have  prepared.  The 
representatives  were  mandated  to 
make  clear  to  the  Academy  repre- 
sentatives the  various  reservations 
A.C.T.T.  has  on  the  question  of  a 
training  scheme. 

FILMS.  A  problem  had  arisen 
over  non-synchronous  sound  effects 
for  a  16mm.  Kodachrome  film, 
Caribou,  being  made  for  Priestman 
and  Company  Ltd.  for  non- 
theatrical  use.  The  Shop  Steward 
confirmed  that  the  company  had 
been  experiencing  undercutting  by 
other  firms,  which  are  not  mem- 
bers of  the  A.S.F.P.  and  do  not 
operate  the  Shorts  Agreement.  On 
this  particular  film  the  clients  in- 
sisted on  sound  effects  of  their 
cranes  at  work  without  being  pre- 
pared to  pay  the  price  of  the  re- 
cording with  an  A.C.T.T.  crew. 
However,  Technical  and  Scientific 
went  ahead  on  their  clients'  terms 

and  now  hoped  that  under  all  the 
circumstances  their  case  would  be 
given  special  consideration.  The 
Shop  Steward,  Derek  Knight,  was 
in  attendance  at  the  Executive  and 
made  additional  points,  which  he 
felt  should  be  considered  with 
some  sympathy  in  view  nf  the  good 
relations  which  existed  with  Tech- 
nical and  Scientific  and  their  good 
record  to  date  as  far  as  strict 
application  of  the  Shorts  Agree- 
ment is  concerned.  The  Executive 
Committee    agreed   that: 

(a)  The  work  should  not  be 
blacked  on  this  occasion  but 
the  company  should  be  given 
a  firm  warning  that  on  no 
account  would  any  such  con- 
cession be  made  in  future, 
unless  the  request  for  a  con- 
cession is  lodged  with  the 
Union  before  any  contrac- 
tual arrangements  with 
clients  are   entered   into. 

(b)  Those  members  who  were 
aware  of  what  was  being; 
done  and  said  nothing  until 
their  return  from  location 
should  be  reprimanded  and 
reminded  that  they  should 
notify  Head  Office  im- 
mediately anything  of  this 
kind  occurs  unless  they  have 
been  advised  beforehand 
that  such  a  departure  from 
the  provisions  of  the  Shorts 
Agreement  has  been  ap- 

(c)  A  letter  of  thanks  should  be 
sent  to  the  Editor  for  his 
keen  attention  to  the  prin- 
ciple involved  and  to  the 
Shop  Steward  for  drawing 
our  attention  to  the  matter. 

MANAGEMENT.  It  was  agreed 
that  the  recommendation  of  the 
Kodak  members  should  be  imple- 
mented and  Head  Office  should 
request  a  meeting  with  the 

AFFILIATIONS.  It  was  agreed 
to  continue  affiliation  to  the  Film 
Industry  Sports  Association,  the 
Film  Industry  Employees'  Council 
and  the  National  Federation  of 
Professional  Workers.  It  was  also 
agreed  to  affiliate  to  the  Man- 
chester and  Salford  Trades  Council 
on  the  basis  of  90  local  members 
at  the  cost  of  30/-  per  annum. 


It  was  agreed  that  Head  Office 
should  write  to  the  A.S.F.P.,  re- 
questing an  early  meeting  to  dis- 
cuss some  form  of  joint  action,  as 

suggested  by  the  Shorts  and  Docu- 
mentary Section. 

memorandum  had  been  drawn  up 
by  the  A.S.F.P.,  following  a  nego- 
tiating meeting  with  them,  which 
was  considered  by  the  E.C.  It  was 
agreed  that  it  be  referred  to  the 
Sound  Section  for  its  detailed  com- 
ments as  a  matter  of  urgency, 
and  then  reported  back  to  the  E.C. 

TION. The  Laboratories  Com- 
mittee, having  considered  the  take- 
over of  Olympic  Labs  by  the  Rank 
Organisation,  recommended  the 
tabling  by  the  General  Council  of 
an  Emergency  Resolution  on  the 
contraction  of  laboratories  and  on 
monopolies.  This  was  agreed,  and 
the  Laboratories  Committee  was 
asked  to  prepare  research  material 
for  the  use  of  the  Union. 

Craik  and  Charles  Wheeler  re- 
ported on  meetings  between 
A.C.T.T.,  E.T.U.  and  N.A.T.K.E. 
with  the  BFPA  on  such  subjects 
as  the  Cinematograph  Bill,  con- 
ciliation to  prevent  stoppages  and 
interruptions  of  production,  enter- 
tainment tax,  spread-over  of  pro- 
duction, a  proposed  Casualisation 
Fund  for  employees  on  the  film  pro- 
duction side  of  the  industry,  and 
the  reduction  in  cinema  atten- 
dances. The  reports  were  endorsed 
with  thanks  to  A.C.T.T.'s  represen- 

Camera  Hire 

(1)  NEWMAN  SINCLAIR— Mirror  Shutter. 
All  Cooke  Lenses  including  Series  2., 
2Smm.,  f.1.7.  SINGLE  FRAME  EXPOSURE 
and  Electric  Motor  Drive.  (Available  fully 
adapted  for  CINEMASCOPE  if  required.) 

(2)  NEWMAN  SINCLAIR— Mirror  Shutter. 
Cooke  Lenses  and  24mm.  Angineux  Retro- 

(3)  NEWMAN  SINCLAIR— Model  G.  Al1 
and  Electric  Motor  Drive  if  required. 

Kingston  Tubular  and  Vinten  Light  Gyro 


Metal  construction,  pneumatic  tyres,  drop- 
down jacks,  lightweight  tracks,  etc. 


FINchley  I  595 



February  1957 

Did  You  Know  ? 

"  CincmaScopc  installations  have 
reached  their  saturation  point  prac- 
tically everywhere  .  .  .  17,561  in  the 
U.S.  and  Canada,  and  21,792  over- 
seas."— Spyros  Skouras  (20th  Cen- 
tury Fox  President). 

British  Chimneys  Honoured 

Two  Hungarian  film  makers, 
documentary  producer  Istvan  Simar 
and  cameraman  Janos  Badal,  were 
in  London  recently  to  film  in  colour 
their  State  Song  and  Dance  En- 

During  their  five-week  visit  they 
have  also  been  shooting  the  usual 
London  material  of  Big  Ben,  Hyde 
Park,  Soho,  etc.  But  while  in  Dover 
they  became  suddenly  intrigued 
"  by  the  uniformity  of  the  houses 
with  chimneys  of  so  many  different 
types  ".  So  now  British  chimneys 
have  been  honoured  on  film  in  a 
future  Hungarian  "  Chimney  Re- 
view ". 

Also,  it  appears  plans  are  afoot 
for  a  co-production.  Producer  Akos 
Rathonyi  wants  to  make  Zsigmond 
Moricz's  novel  "  Sarany  "  using  a 
cast  of  English,  American  and 
Hungarian  actors. 

Attention,  all  screenwriters! 

Every  national  film  industry  is 
on  the  lookout  for  successful  plays, 
scripts  and  budding  new  writers. 
This  great  need  is  showing  itself 
in  percentages. 

A  recent  analysis  made  by  the 
N.F.F.C.  on  production  costs  re- 
veals that  only  4.5  per  cent  is  allo- 
cated for  story  and  script.  In 
Hollywood  the  figure  is  around  12 
to  15  per  cent  of  the  whole  cost. 

Now  I  wonder  why  this  is  so? 
Could  it  be  that  our  American 
Screenwriters'  Union  are  better 
organised  and  generally  are  more 
on  the  ball?  I  gather  that  the 
screenwriter's     rate     of     fees     is 

approximately    three    times    more 
than  his  British  counterpart's. 

Also,  I  am  told  American  writers 
have  insisted  on  all  credits  on  all 
forms  of  advertisements. 

I  hope  readers  will  hear  replies 
on  this  score  from  the  appropriate 

For  H.P.  Payers  Only 

As  H.P.  is  on  the  increase  in  this 
country  and  likewise  short  time 
and  unemployment,  I  should  like  to 
pass  on  this  tale  from  an  American 
Trade  Union  journal  : 

A  young  lady,  several  payments 
behind  on  her  fur  coat,  received 
the  following  letter  from  the 
Finance  Company  :  "  What  would 
your  neighbours  think  if  we  found 
it  necessary  to  come  and  repossess 
your  fur  coat?" 

A  few  days  later  the  company 
received  the  following  reply  from 
the  young  lady  :  "  I  have  taken  up 
the  matter  with  my  neighbours  as 
you  suggested  and  they  all  think 
it  would  be  a  lousv  trick  ". 

Lewis  McLeod 



FILMLETS    AND    FILM    STRIPS    IN     B    &    W    AND    COLOUR 


71     DEAN    STREET,    LONDON,    W.I 

TELEPHONE:     GERRARD     1365-6-7-8 


February  1957 




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The  remarkable  increase  in  sales  of  Gevaert 
Sound  Films  for  variable  area  recording,  S.T.4 
and  S.T.6,  is  easy  to  understand.    Each  in  its 
class  is  outstandingly  good  and  will  give 
you  better  cancellation,  better  high  frequency 
response,  and  will  enable  you  to  work  at  lower 
lamp  currents. 



Gevasonor  magnetic  coatings  are  available 
on  5  thou,  base  in  16  mm.,  17.5  mm.  and  35  mm. 
widths  or  as  J-inch  tape.    These  materials  are  of 
such  quality  that  for  some  scientific  applications 
where  freedom  from  dropouts  and  evenness  of 
coating  is  essential  no  other  tape  available 
will  fulfil  requirements. 


Full  Technical  Information  from  : 

GEVAERT   LIMSTED,  Motion  Picture  Department, 

Acton  Lane,  Harlesden,  London,  N.W.10     ELGar  6755 

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February  1957 


r   .•'** 


oan  Crawford 
Rossano  Brazzi 

The  David  Miller  Production  of 

The  Story  of  Esther  Costello 

with  Lee  Patterson.  Denis  O'Dea 

\  Remus  Film  for  Columbia  Pictures 
Director  oj  Photography:  R.  Krasker.  B.S.(  - 

—  a  magnificent  tribute  to  the 

fine-grain  qualities  of  ILFORD  FP3 

35  mm  Cine  Negative  Film 


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Square,  London,  and  Printed  by  Watford  Printers  Limited.  Watford,  Herts. 


d  allied  Technicians 

PRICE  6d. 



March   1957 

*  NO  NEED  TO  LOOK  TWICE  . . . 

,  ...  once  is  sufficient  to  see  the  noticeable  improvement  in  all  films  when  masked  printed 

by  Colour  Film  Services  Limited— Britain's  biggest  16  MM  Kodachrome  laboratory. 

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of  McAfee957 

llii a  Rr 


GjifT/e  to  British  Film  Makers 


Kear  o/  Production:    1955. 

Studio:    M.G.M. 

Laboratory :    Technicolor. 

Producing  Company:  Warwick  Film 
Productions  Ltd. 

Executive  Producer:    Islin  Auster. 

Producer:    Max  Varnel. 

Stars:  Macdonald  Carey.  Rhonda 
Fleming,  Eleanor  Summerfield,  Juma. 
Francis  de  Wolff. 

Directors:  John  Gilling,  Michael  For- 
long  (2nd  Unit). 

Scenarists:    Islin  Auster,  John  Gilling. 

Camera  Department:  Lighting  Camera- 
men, Ted  Moore,  Fred  Ford;  Camera 
Operator,  Ernie  Day;  1st  Camera 
Assistants  (Focus),  Peter  Hall,  Ceri 
Davies;  Other  Camera  Assistants, 
Kelvin  Pike,  Neil  Gemmell ;  Second 
Camera  Operator,  Fred  Ford. 

Sound  Department:  Recordist  (Mixer), 
Gerry  Turner;  Sound  Camera  Opera- 
tor, Peter  Day;  Boom  Operator,  Derek 
Kavanagh;  Other  Assistant  (Main- 
tenance), N.  T.  Stevenson;  Dubbing 
Crew:     M.G.M.   Sound  Crew. 

Art  Department:  Art  Director.  Elliott 

Editing  Department:  Supervising  Edi- 
tor, Alan  Osbiston;  Editor,  Jack 
Slade;  Assembly  Cutter,  Mary  Russell- 
Wood;  1st  Assistant,  Philip  Barnikel ; 
Other  Assistant,  Alan  Pattillo;  Dub- 
bing Editors,  David  Elliott,  Geoff 

Production  Department:  Production 
Manager  and/or  Unit  Production 
Manager,  Henry  Geddes;  1st  Assis- 
tant Director,  Douglas  Twiddy;  2nd 
Assistant  Director,  Rene  Dupont;  3rd 
Assistant  Director,  Jackie  Green; 
Continuity,  Maisie  Kelly;  Production 
Secretary,  Marguerite  Green. 

Stills    Department:      Still    Cameraman, 

Bert  Cann. 
Special    Processes:      Cinemascope-East - 

Publicity  Director:    Euan  Lloyd. 


Year  of  Production:    1956. 

Studio:    Shepperton  Studios. 

Laboratory:    Humphries. 

Producing  Company:  Grenadier  Pro- 
ductions Ltd. 

Producers:  Frank  Launder  and  Sidnev 

Associate    Producer:     Leslie    Gilliat. 

Stars:  Alastair  Sim,  George  Cole,  Terry 
Thomas,  Jill  Adams. 

Director:    Robert  Day. 

Scenarists:    Sidney  Gilliat. 

Camera  Department:    Lighting  Camera 
man,  Gerald  Gibbs;  Camera  Operator, 
Alan     Hume;     1st     Camera     Assistant 
(Focus),        Godfrey       Godar;        Other 
Camera   Assistant,    Ian   Muir. 

Sound  Department:  Recordist  (Mixer), 
Buster  Ambler;  Sound  Camera 
Operators,  Harry  Tate,  Jimmy 
Dooley;  Boom  Operator,  Ken  Ritchie; 
Boom  Assistant,  Fred  Peters;  Other 
Assistant,  Eric  Vincent  (Main- 
tenance) ;  Dubbing  Crew,  Red  Law. 
J.  Aldred,  B.  Hopkins. 

Art  Department:  Art  Director,  Wilfred 
Shingleton;  Assistant  Art  Director, 
John  Hoesli  (Set  Dresser);  Draughts- 
man, Frank  Wilson;  Dress  Designer, 
Anna  Duse. 

Editing  Department:  Editor,  Bernard 
Gribble;  1st  Assistant,  Eric  Brown; 
Other  Assistant,  Jeremy  Saunders; 
Dubbing  Editor,   John  Glen. 

Production  Department:  Production 
Manager  and/or  Unit  Production 
Manager,  John  Pellatt ;  1st  Assistant 
Director,  Douglas  Hermes;  2nd 
Assistant  Director,  Peter  Price;  3rd 
Assistant  Director,  David  Tringham; 
Continuity,  Olga  Brook;  Production 
Secretary,   Sheila  O'Donnell. 

Stills  Department:  Still  Cameraman, 
Norman  Hargood. 

Special  Processes:  Scenic  Artists, 
Basil  Manning,  Wally  Veevers, 
George  Samuels. 

Publicity  Department:  Publicity  Direc- 
tors, Kenneth  Green,  Victor  Betts. 


Year  of  Production :    1956. 

Studio:    Shepperton  Studios. 

Laboratory:    Technicolor. 

Producing  Company:  George  Minter 
Productions  Ltd. 

Producer:   J.  G.  Minter. 

Associate  Producer:    D.   O'Dell. 

Stars:  Terence  Morgan.  George  Cole. 
Ted  Heath,  Mylene  Nicole,  Kathleen 
Harrison,  James  Hayter,  Denis  Lotus. 

Director:    Val  Guest. 

Scenarist:   Val  Guest. 

Camera  Department:  Lighting  Camera- 
man, Wilkie  Cooper;  Camera  Opera- 
tor, Alan  Hume;  1st  Camera  Assis- 
tant (Focus),  Godfrey  Godet ;  Other 
Camera  Assistant,  Ronnie  Anscome : 
Second  Camera  Operator,  Ernie 

Sound  Department:  Recordist  (Mixer), 
Bert  Ross;  Sound  Camera  Operator, 
E.  Webb;  Boom  Operator,  Peter 
Dukelow;  Dubbing  Crew,  Red  Law, 
Peter  Jones,   Barbara  Hopkins. 

Art  Department:  Art  Director,  Elvin 
Webb;  Assistant  Art  Director, 
Maurice  Fowler;  Draughtsman,  D. 
Woolland ;  Dress  Designer,  Julie 

Editing  Department:  Editor,  John 
Pomeroy;  1st  Assistant,  R.  Copple- 
man ;  Other  Assistant,  Alma  Godfrey: 
Dubbing   Editor,    Chris   Greenham. 

Production  Department:  Production 
Manager  and /or  Unit  Production 
Manager:  A.  E.  Brettell ;  1st  Assis- 
tant Director,  Gerry  O'Hara;  2nd 
Assistant  Director,  Ted  Sturgess;  3rd 
Assistant  Director,  John  Kerrison ; 
Continuity,  Phyllis  Crocker;  Produc- 
tion  Secretary,    Phyllis  Townsend. 

Stills    Department:      Still    Cameraman, 

Laurie  Ridley. 
Special   Processes:     Wally  Veevers   (i/c 
Special     Effects.     Shepperton     Special 
Effects    Dept.— Matte— Painters). 
Publicity  Department:    Publicity  Direc- 
tor,  Pat  O'Connor. 


Year   of   Production:     1956. 

Studio:    Pinewood. 

Laboratory:    Denham. 

Producing  Company:  The  Rpnk 
Organisation  Film  Productions  Ltd. 

Producer:    George  Brown. 

Production    Controller:     Arthur   Alcott. 

Stars:  John  Gregson,  Kathleen  Ryan 
Jacqueline  Ryan,  Cyril  Cusack,  Noel 

Director:   Rov  Baker. 

Scenarists:  Patrick  Kirwan  and  Liani 

Additional  Dialogue:  Patrick  Camp- 
bell   and    Catherine    Cookson. 

Camera  Department:    Lighting  Camera- 
man,     Geoffrey      Unsworth;      Camera 
Operator,   Jack  Atcheler:    1st   Camera 
Assistant       (Focus),       John       Alcott 
Other  Camera  Assistants,   M.  Wilson. 

Sound  Department:  Recordist  (Mixer), 
Geoffrey  Daniels;  Sound  Camera 
Operator,  C.  Arnold;  Boom  Operator. 
Pat  Wheeler;  Boom  Assistant,  A.  E. 
Carverhill;  Dubbing  Crew,  Gordon  K. 
McCallum,  Ted  Karnon,  C.  le  Mes- 
surier;    Music,    Ted    Drake. 

Art  Department:  Art  Director,  Jack 
Maxsted;  Assistant  Art  Director 
(Set),  Arthur  Taksen;  Draughtsmen. 
Harry  Pottle  (Chief),  Peter  Lamont, 
Bob  Cartwright,  Ramsay  Short  : 
Dress   Designer,   Eleanor  Abbey. 

Editing  Department:  Editor,  John 
Guthridge;  Assembly  Cutter,  James 
Kelly;  Other  Assistants,  Richard 
Woodworth,  Maureen  Howard;  Dub- 
bing Editor,  James  Groom,  (Asst.) 
Gareth  Bogarde. 

Production  Department:  Production 
Manager,  Roy  Goddard;  1st  Assistant 
Director,  Bob  Asher;  2nd  Assistant 
Director,  Harold  Orton;  3rd  Assis- 
tant Director,  Peter  Carey;  Con- 
tinuity, Tilly  Day;  Production  Secre- 
tary, Jean  Tisdall. 

Stills    Department:      Still     Cameraman 
Harry  Gillard. 

Publicity  Department:  Unit  Publicist. 
Bob  Herrington. 


Year  of  Production:    1956. 

Studio:    Pinewood. 
Laboratory:    Technicolor. 

Producing  Company:  Rank  Organisa- 
tion Film  Productions  Ltd. 

Producer:    Vivian  Cox. 

Stars:  Michael  Craig,  Julia  Arnall, 
Brenda  De  Banzie,  David  Kossof, 
Geoffrey  Keen,   Barbara  Bates. 

Director:    Guy  Green. 

Scenarists:  Robert  Buckner,  Bryan 

Camera  Department:  Lighting  Camera- 
man, Harry  Waxman ;  Camera  Opera- 
tor, Jim  Bawden ;  1st  Camera  Assis- 
tant (Focus),  Alec  Mills;  Other 
Camera  Assistant :    Ron  Anscombe. 

Sound  Department:  Recordist  (Mixer), 
Dudley  Messenger;  Sound  Camera 
Operator,  C.  Arnold :  Boom  Operator, 
John  Salter:  Boom  Assistant,  A.  E. 
Carverhill;  Dubbing  Crew,  Gordon  K. 
McCallum,  W.  Daniels,  C.  le  Mes- 
surier;  Music,  Ted  Drake. 

Art  Department:  Art  Director,  A. 
Vetchinsky;  Asst.  Art  Director  (Set). 
Arthur  Taksen;  Draughtsmen,  Lionel 
Couch  (Chief),  Terry  Marsh,  Charlie 
Bishop;  Dress  Designer,  Julie  Harris. 

Editing  Department:  Editor,  Sydney 
Hayers;  Assembly  Cutter,  Roy  Fry; 
Other  Assistant,  Tristram  "Cones; 
Dubbing  Editor,  Archie  Ludski; 
Assistant,  Chris  Lancaster. 

Production  Department:  Production 
Manager.  H.  R.  R.  Attwooll;  1st 
Assistant  Director,  Bob  Asher;  2nd 
Assistant  Director,  John  Oldknow; 
3rd  Assistant  Director,  Peter  Carey; 
Continuity,  Tilly  Day,  Susan  Dyson; 
Production  Secretary,  Teresa  Bolland. 

Stills  Department:  Still  Cameraman, 
Harry  Gillard. 

Special  Processes:  W.  Warrington, 
F.   George,   S.   Pearson,   W.   Marshall. 

Publicity  Director:    George   Mason. 

March  1951 



of  Production:    1956. 

Studio:  British  Lion  Studios,  Shepper- 

Laboratory:    Humphries. 

Producing  Company :  Remus  Films  Ltd. 

Producer:    Jack  Clayton. 

Production  Supervisor:  Raymond  An- 

Stars:  Ronald  Shiner,  Brian  Rix,  Sid- 
ney James. 

Director:    Maurice  Elvey. 

Scenarist:    John  Roy  Chapman. 

Cat  era  Department:  Lighting  Camera- 
man, Arthur  Grant;  Camera  Operator, 
Peter  Newbrook;  1st  Camera  Assistant 
(Focus),  Alan  Hall;  Other  Camera 
Assistant  (Clapper/Loader),  Ronald 
Drinkwater;  Lighting  Cameraman 
(2nd   Unit),   Freddie  Francis. 

Sound  Department:  Recordist  (Mixer), 
Peter  Handford;  Sound  Camera 
Operator,  Jack  Smart;  Boom  Opera- 
tor, Bill  Cook;  Dubbing  Crew,  Red 
Law,  Bob  Jones,  Barbara  Hopkins; 
Sound  Maintenance.   C.   Hunt. 

Art  Department:  Art  Director,  Norman 
Arnold;  Assistant  Art  Director  and 
Draughtsman,  W.  Hutchinson. 

Editing        Department:  Supervising 

Editor,  Ralph  Kemplen;  Editor,  Gerry 
Hambling;  1st  Assistant,  Tony  Gibbs; 
Other  Assistant,  Norma  Bremson. 

Production  Department:  Production 
Manager,  Robert  Sterne;  1st  Assistant 
Director,  Jack  Causey;  2nd  Assistant 
Director,  David  Bracknell;  3rd  Assis- 
tant Director,  Otto  Plaschkes;  Con- 
tinuity, Doreen  Francis;  Production 
Secretary,    Doris   Prince. 

Stills  Department:  Still  Cameraman, 
Eric  Gray. 

Special  Processes:  Brian  Langley,  Reg 
Johnson   (Travelling  Matte). 

Publicity  Director:    Lilana  Wilkie. 


Year  of  Production:    1956. 

Studio:  Associated  British  Elstree 

Laboratory:    Denham  Laboratory. 

Producing  Company:    Forth  Films  Ltd. 

Producer:    H.  G.  Inglis. 

Stars:  Ronald  Shiner,  Ted  Ray,  Greta 
Gynt,  Robertson  Hare. 

Director:    Gilbert  Gunn. 

Sci  narists:  Talbot  Rothwell,  Gilbert 

Camera  Department:  Lighting  Camera- 
man, Gilbert  Taylor;  Camera  Opera- 
tor, Val  Stewart;  1st  Camera  Assis- 
tant (Focus),  Peter  Hendry;  Other 
Camera  Assistants.  T.  Cole,  K.  Pike. 
M.  Arnold. 

.Sound  Department:  Recordist  (Mixer). 
A.  Bradburn;  Sound  Camera  Opera- 
tors, L.  Grimmell.  J.  Young;  Boom 
Operator,  D.  Macfarlane;  Boom  Assis- 
tant, 1'.  Nicholson:  Other  Assistant. 
S.  Conley;  Dubbing  Crew,  Len 
Shilton,  D.  Grimmell,  L.  Abbott, 
J.  Young,   M.   Bradbury. 

Art  Department  :  Art  Director,  Uol.oM 
Jones ;  Draughtsmen,  J.  Jones,  G. 
Kirhardson;  Dress  Designer,  Anna 

Editing  Department:  Editor,  E.  B. 
Jarvis;  1st  Assistant,  Miss  J.  New- 
son;  Other  Assistant,  Miss  I.  Ibbet- 
son;  Dubbing  Editor,  Miss  Phil 

Production  Department:  Production 
Manager  and /or  Unit  Production 
Manager,  Gerry  Mitchell;  1st  Assis 
tant  Director.  "  Frederic  Goode;  2nd 
Assistant  Director,  Jeremy  Summers; 
3rd  Assistant  Director,  Michai  I 
Profit;  Continuity,  Pam  Gayler;  Pro- 
duction  Secretary,  J.   Parcell. 

Stills  Department:  Still  Cameraman. 
R.  Pilgrim. 

Publicity  Department:  Publicity  Direc- 
tor, Jean  Garioch. 


Year  of  Production:     1955/56. 

Studio:     M.G.M.    Studios.    Elstree. 

Laboratory:    Technicolor. 

Producing  Company:  Warwick  Film 
Productions  Ltd. 

Producer:    Phil  C.  Samuel. 

Stars:  Victor  Mature.  Anita  Ekberg, 
Michael  Wilding. 

Director:    Terence  Young. 

Associate  Directors:  Yakima  Cannut. 
John  Gilling,    Richard   Maibaum. 

Camera  Department:  Lighting  Camera- 
men, John  Wilcox,  Ted  Moore,  Cyril 
Knowles;  Camera  Operators,  Denys 
Coope,  Ernest  Day,  Ray  Sturgess; 
1st  Camera  Assistants  (Focus),  Ronnie 
Maasz,  Alan  Hall;  Other  Camera 
Assistants,  Peter  Hall,  Cere  Davies. 
Alf  Hicks,  Dickie  Robinson,  Alex 
Thompson,  Roy  Ford. 

Sound  Department:  Recordists  (Mixer), 
Peter  Davies,  Gerry  Turner;  Sound 
Camera  Operators,  Al  Thorne,  Peter 
Day;  Boom  Operators,  Jim  Whiting, 
Derek  Kavanagh;  Boom  Assistant, 
Jefrey  Bernard;  Other  Assistants 
(Maintenance),  E.  Stoneham,  Brian 
Hunter,  N.  T.  Stephenson;  Dubbing 
Crew,  J.  B.  Smith,  John  Bramall: 
Camera  Maintenance,  Ron  Ford. 

Art  Department:  Art  Directors,  John 
Box,  Bill  Andrews;  Assistant  Art 
Director,  Sid  Cain;  Draughtsmen, 
Wallis  Smith,  Alec  Gray,  Kenneth 
Tait;   Dress  Designer,  Phyllis  Dalton. 

Editing        Department:  Supervising 

Editor,  Alan  Osbiston;  Editor,  Bert 
Rule;  Assembly  Cutter,  Geoffrey 
Botterill;  1st  Assistant,  Ivor  Selwyn; 
Other  Assistant,  Peter  Elliott;  Dub- 
bing Editors,  Don  Saunders,  Malcolm 
Cooke;  Dubbing  Assistant,  Ivor  Sel- 
wyn   (after  final   cut). 

Production  Department:  Production 
Managers  and/or  Unit  Production 
Managers,  John  Palmer,  Henry  Ged- 
des;  1st  Assistant  Directors,  Jack 
Martin,  Bluey  Hill,  Frank  Hollands. 
Robert  Lynn;  2nd  Assistant  Directors. 
Tom  Sachs,  Bert  Pearl,  Dennis  Hall: 
3rd  Assistant  Directors,  Peter  Len- 
nard,  John  Pitcher,  Joe  Marks; 
Location  Managers,  John  Pellatt, 
Robert  Navarro,  Douglas  Twiddy: 
Continuity,  Pamela  Davies,  Kav 
Rawlings;  Production  Secretaries. 
Beti  Parry,  Mary  Timewell. 

Stills  Department:  Still  Cameraman. 
Bert  Cann. 

Special  Processes:  Special  Effects 
Director,  Jack  Erickson;  Special 
Effects  Supervisor,  Cliff  Richardson : 
Travelling  Mattes.  Tommy  Howard. 

Public  it  ii  Department:  Publicity  Direc- 
tor, Anthony  Howard. 

Casting:    Nora  Roberts. 


Year  of  Production:    1955/56. 

Studio:  Pinewood  Studios,  Iver  Heath. 

Laboratory:    Technicolor. 

Producing  Company :  Remus  Films  Ltd. 

Producer:    Betty  E.  Box. 

Stars:     Bob   Hope.    Katherine   Hepburn. 

Director:    Ralph  Thomas. 

Camera  Department :  Lighting  Camera- 
man, Ernest  Steward;  Camera  Opera- 
tor. H.  A.  R.  Thomson;  1st  Camera 
Assistant  (Focus),  Steve  Clayton: 
Other  Camera  Assistant  (Loader). 
Jack  Hickson. 

Sound  Department:  Recordist  (Mixer), 
John  Mitchell:  Sound  Camera  Opera 
tor,  R.  Butcher;  Boom  Operator. 
J.  W.  N.  Daniel;  Boom  Assistant. 
R.  Charman :  Dubbing  Crew.  G  K. 
McCallum,  W.  Daniels,  C.  Le  Mes- 

Art  Department:    Art   Director,  Carmen 

Dillon;  Draughtsman,  Ernest  Archer; 
Dress  Designer,  Yvonne  Caffin. 

Editing  Department:  Editor,  Frederick 
Wilson;  1st  Assistant,  John  Cooke; 
Other  Assistants,  Geoffrey  Fry,  Paula 
Devenish;  Dubbing  Editor,  Roger 

Production  Department:  Production 
Manager  and /or  Unit  Production 
Manager,  R.  Dennis  Holt;  1st  Assis- 
tant Director,  James  H.  Ware ;  2nd 
Assistant  Director,  Bert  Batt :  3rd 
Assistant  Director.  Pat  Clayton ;  Con- 
tinuity, Joan  Davis;  Assistant  Con- 
tinuity, Penny  Daniels;  Production 
Secretary,  Jean  Forbes. 

Stills  Department:  Still  Cameraman, 
Norman  Gryspeerdt. 

Publicity  Director:    George  Mason. 


Year  of  Production:    1956. 

Studio:     Pinewood. 

Laboratory:  Rank  Laboratories  (Den- 
ham) Limited. 

Producing  Company:  Rank  Organisa- 
tion Film  Production  Limited. 

Producer:    Betty  E.   Box. 

Production    Controller:     Arthur   Alcott. 

Stars:  Anthony  Steele,  Odile  Versois, 
James  Robertson  Justice,  Stanley 

Director:    Ralph  Thomas. 

Scenarist:    Robin   Estridge. 

Camera  Department :  Lighting  Camera- 
man. Ernest  Steward;  Camera  Opera- 
tor, H.  A.  R.  Thomson;  1st  Camera 
Assistants  (Focus),  John  Morgan, 
J.  Alcott  (Location);  Other  Camera 
Assistant,  Joe  Levy. 

Sound  Department:  Recordist  (Mixer), 
O.  C.  Stevens;  Sound  Camera  Opera- 
tor, E.  J.  Karnon ;  Boom  Operator, 
Gus  Lloyd;  Boom  Assistant,  Ken 
Reynolds:  Dubbing  Crew,  Gordon  K. 
McCallum,  W.  Daniels,  C.  Le  Mes- 
surier;  Music,  Ted  Drake;  Main- 
tenance (Location),  Peter  Glover. 

Art  Department:  Art  Director,  Carmen 
Dillon;  Assistant  Art  Director  (Set), 
Dario  Simoni;  Draughtsman  (Chief), 
Ernie  Archer;  Dress  Designer, 
Anthony  Mendleson. 

Editing  Department;  Editor,  Freddie 
Wilson ;  Associate  Editor,  Roger 
Cherrill ;  1st  Assistants,  Geoff.  Fry. 
Stan  Fiferman;  Other  Assistant, 
Paula  Devenish;  Dubbing  Editors, 
Arthur  Ridout,  Eric  Boyd-Perkins; 
Dubbing  Assistant,  Graham  Harris. 

Production  Department:  Production 
Manager,  Denis  Holt;  1st  Assistant 
Director,  Bert  Batt:  2nd  Assistant 
Director,  Maurice  Gibson:  3rd  Assis- 
tant Director,  Joe  Marks;  Location 
Manager,  Jimmy  Ware;  Continuity. 
Gladys  Goldsmith;  Production  Sec- 
retary.   Pauline   Kernick. 

Stills    Department:      Still    Cameraman. 

Ian     .leaves 

Special      Processes :       W.      Warrington. 

Bert  Marshall.  Frank  George. 
Publicity   Department:    Unit   Publicist. 

Gerry  Lewis. 



The  credits  for  these  two  films  should 
have  read :  Second  Unit  Cameraman — 
Ian  Struthers  (not  Second  Camera 


The  credits  for  this  film  should  have 
read:  Dubbing  Crew — R.  Colwell,  and 
not  R.  Coldw.-ll. 

March   1957 






PROBLEMS  arising  from  the  rapid  and  ever- 
continuing  growth  of  Television,  concern 
over  trends  toward  monopoly  in  the  film  industry 
and  a  serious  preoccupation  with  the  mainten- 
ance of  the  standards  of  British  film  production 
were  among  the  outstanding  features  of  the 
Annual  General  Meeting. 

In  particular  the  debate  on  TV  organisation 
was  noteworthy  for  a  number  of  reasons.  In 
the  first  place  this  was  the  first  A.G.M.  at  which 
there  was  a  substantial  representation  of 
members  working  in  the  Television  field  and  it 
became  evident  from  the  outset  that  they  are 
determined  to  see  that  trade  unionism  becomes 
as  strong  in  this  field  as  it  is  already  in  the  realm 
of  film  production.  As  the  President  stressed  in 
his  opening  address,  it  is  certain  that  in  the 
years  ahead  there  is  going  to  be  some  shift  of 
emphasis  in  the  work  of  A.C.T.T. 

As  was  natural  in  a  debate  on  this  subject 
there  were  criticisms  of  what  has  already  been 
done  and  of  some  of  the  things  that  have  not 
yet  been  done.  But  the  point  that  emerged 
strongly  from  the  discussions  was  that  there  are 
no  fundamental  differences  between  our  Film 
and  Television  members.  At  bedrock  the  prob- 
lems of  workers  in  Television  and  workers  in 
Film  are  the  same.  We  are,  in  fact,  all  members 
of  one  union,  we  are  all  working  in  one  big 
industry,  the  entertainment  industry,  and  it  was 
generally  realised  and  accepted  as  a  matter  of 
course  by  all  speakers  that  only  in  unity  can  we 
march  forward  together. 

The  Television  debate  will  leave  the  incoming 
General  Council  in  no  doubt  whatever  of  the  view 
of  members  and  should  serve  materially  to 
strengthen  their  hands  in  the  work  that  lies 
ahead  both  of  organisation  and  of  negotiation 
for  agreements  on  the  Television  side  of  the 
industry.  Our  TV  members,  too,  will  be  in  no 
doubt  that  in  whatever  struggles  lie  before  them 
they  can  count  on  the  understanding  and  on  the 
support  of  their  colleagues  working  in  the  film 
studios  and  the  laboratories. 

The  solidarity  of  members  in  widely  different 
sections   and   branches   was   shown   once    again 

when  the  Meeting  came  to  consider,  and  to  pass 
with  acclaim,  an  emergency  resolution  tabled  by 
the  General  Council  reflecting  the  concern  of 
members  in  the  Laboratories  and  working  on 
the  Newsreels  at  the  growth  of  monopoly  ten- 
dencies in  the  industry.  The  disappearance  of 
newsreels  and  the  swallowing  up  of  laboratories 
was  most  clearly  felt  to  be  a  matter  for  con- 
tinual vigilance  for  all  members  of  the  Union. 
The  General  Council  will  have  this  question  con- 
tinually in  its  mind  during  the  coming  year. 

On  the  question  of  promoting  the  highest  tech- 
nical and  artistic  standards  in  British  film  pro- 
duction there  was  some  very  lively  debate  in 
which  it  was  heartening  to  hear  a  number  of 
younger  members — younger,  that  is,  in  years, 
though  by  no  means  necessarily  in  period  of 
membership — making  important  contributions  to 
the  discussion. 

Once  again,  as  there  must  be  in  every  Annual 
General  Meeting. if  it  is  hot  to  be  clogged  by 
complacency,  there  were  differences  of  opinion, 
in  this  case  not  so  much  on  objects  as  on  the 
best  methods  of  achieving  them,  and  in  this 
particular  debate  the  eloquence  and  sincerity  of 
the  movers  and  supporters  of  the  resolution  gave 
them  the  distinction  of  defeating  the  General 
Council  by  a  narrow  margin. 

The  keynote  of  the  discussions  throughout  the 
A.G.M.  as  a  whole  was  the  determination  of  all 
members,  whatever  differences  of  view  there 
might  be  between  them  on  individual  points,  to  go 
forward  in  1957  to  consolidate  and  strengthen 
the  Union's  position  in  every  field  and  to  protect 
the  living  standards  of  the  workers  in  the  in- 
dustry against  any  attacks  whether  by  individual 
employers  or  groups  of  employers,  or  arising 
from  legislation  by  the  Government  itself. 



Editorial  Office: 

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March   1957 

TV7ITH  the  A.G.M.  over  and  the 
"  dust  of  controversy,  tempor- 
arily at  least,  settling,  it  is  happy 
to  recall  the  personalities  and  the 
human  side  of  the  meeting-  and  to 
forget  for  a  week  or  two  whether 
this  or  that  amendment  won  or 
lost  the  day. 

The  real  highlight  for  everyone 
came  when  George  Elvin  made  his 
entrance,  looking  and  sounding  in 
the  best  of  health  and  spirits.  It  is 
to  be  hoped  that  it  will  not  be 
long  now  before  his  recovery  is 
complete  and  permanent. 

New  Faces 

There  will  be  several  new  faces 
on  the  Executive  Committee  this 
year.  Bill  Whittimore  comes  in  to 
reinforce  his  Laboratory  colleagues. 
Bill  is  our  steward  at  George 
Humphries  and  has  represented  the 
Union  on  many  committees  and  at 
many  conferences. 

Walter  Lassaly  and  Lindsay 
Anderson  are  particularly  well 
known  on  the  short  film  side — 
Walter  particularly  receiving  high 
tribute  for  his  photography  on  The 
Girl  in  Black,  the  Greek  film  cur- 
rently showing  at  the  Curzon. 
Lindsay  Anderson — occasional  film 
critic  of  the  "  New  Statesman  "- 
had  one  of  the  films  he  directed, 
O  Dreamland,  in  the  brief  Free 
Cinema  season  at  the  National 
Film  Theatre  last  year. 

Derek  Twist,  the  director,  of 
course  needs  little  introduction  to 
members.  He  has  played  a  leading 
part  in  Union  affairs,  particularly 
in  the  Producers-Directors'  Section, 
for  many  years. 

This  year  is  the  first  in  the 
Union's  history  that  Television  has 
had  any  specific  representation  of 
its  own — Desmond  Davis  becomes 
the  first  TV  Vice-President.  Tony 
Shine,  our  Associated  Rediffusion 
shop  steward,  was  elected  to  the 
Commercial  Television  seat.  Tony 
has  been  one  of  the  Union's  leading 
negotiators  on  the  Programme 
Contractors'  Agreement  (and  will 
be  for  many  months  to  come!). 
From  the  B.B.C.  comes  Harold 
Clayton,  a  director  of  long  stand- 
ing, and  for  the  past  year  Chair- 
man of  the  TV  Producers-Directors' 

Meetings  and  meetings  and  .  .  . 

A  thought  for  those  stalwarts 
who  have  served  on  the  General 
Council  and  Executive  Committee 
for  many  years.  One  often  won- 
ders, as  a  cross  is  cheerfully  put  by 
a  name,  if  it  is  appreciated  what  a 
commitment  election  can  be.  At 
least  one  evening  meeting  a  week 
(E.C.  or  Gen.  Council) — a  section 
meeting  once  a  month — that  is  the 
bare  minimum.  But  a  week  never 
passes  without  an  additional  com- 
mittee— be  it  legislation,  feature, 
shorts  or  one  of  the  negotiating 
committees,  A.C.T.  Films,  or  Jour- 
nal. In  February  three  E.C.  mem- 
bers spent  three  Saturdays  and  a 
Sunday  poring  over  the  clauses  of 
the  TV  draft  agreement.  Consider 
that  a  fair  proportion  of  the  E.C. 
are  shop  stewards  as  well,  and  you 
have  some  idea  of  the  time,  labour 
and  responsibility  involved  in  being 
a  voluntary  official.  And  I  have 
probably  forgotten  a  whole  legion 
of  duties  expected  of  an  Executive 

Golden  Rule 

"  Newsweek  "  has  an  interesting 
article  on  Dave  Beck  and  Jimmy 
Hoffa,  the  two  heads  of  the  U.S. 
Teamster's  Union 
—  rough  equiva- 
lent of  our  Trans- 
port and  General 
Workers'  Union 
( and  the  largest 
union  in  the 
U.S.A.)— Beckhas 
a  $50,000  home 
and  from  all  ac- 
counts has  been  a 
tough  customer 
since  his  child- 
hood. He  once  an- 
nounced that  several  thousand  of 
his  members  were  taking  ju-jitsu 
lessons  "for  their  health".  His  No.  2, 
Jimmy  Hoffa,  it  seems,  is  an  even 
rougher,  tougher  customer.  He  is 
reputed  to  have  said  once,  "  I  was 
hit  so  many  times  with  clubs, 
sticks  and  brass  knuckle-dusters 
I  can't  even  remember  where  the 
bruises  are."  According  to  "  News- 
week "  Hoffa's  own  version  of  the 
Golden  Rule,  learned  during  a 
tough  childhood,  is  "  Do  unto 
others — first." 

Leisurely  .  .  .  ? 

I'm  no  expert  on  the  Russian 
film  industry,  but  I  was  struck  by 
an  article  in  the  current  issue  of 
"  Soviet  Union  "  which  described 
the  making  of  Shokolov's  Quit  t 
Flows  the  Don.  Whatever  other 
worries  the  Russian  producers  may 
have,  a  tight  schedule  doesn't  seem 
to  be  one  of  them.  Interviewed  on 
location,  producer  Sergie  Gerasi- 
mov  said,  "  We  shall  spend  all  the 
winter  and  spring  on  the  Don,  then 
return  to  Moscow  for  the  studio 
shooting.  In  summer  we  plan  to 
make  a  fresh  expedition  to  the  Don 
region."    A  nice  location  ! 

Stop-press  .  .  .! 

Head  Office  found  itself  inundated 
with  trunk-calls  from  Manchester 
one  afternoon  a  couple  of  weeks 
ago.  The  press  had  heard  there 
was  to  a  dramatic  "  one-minute 
strike  "  in  Granada  Television. 
Our  Granada  shop 
steward  Gavin  Wad- 
dell  took  the  brunt 
of  the  press  chase. 
When  all  was  said 
and  done  the  press 
had  picked  up  the 
conversation  of  an 
enthusiastic  member 
with  ideas  about 
what  should  happen 
if  the  Programme 
Contractors  would 
not  come  to  terms 
with  the  Union  on  a 
national  agreement. 
Strike  or  no  strike,  the  Manchester 
press  now  have  a  lively  interest  in 
the  local  A.C.T.T.  Granada  is  one 
of  our  best  organised  Television 
shops,  and  is  already  actively  nego- 
tiating with  the  management  on  a 
wide  range  of  issues.  A  large  dele- 
gation came  from  Manchester  to 
the  A.G.M. 

Thank    You,    Mr.    Preminger 

Our  grateful  thanks  go  to  Mr. 
Otto  Preminger  who  has  gener- 
ouslv  agreed  to  place  the  proceeds 
of  the  British  Premiere  of  his  pro- 
duction of  St.  Joan  at  the  disposal 
of  the  Benevolent  Funds  of 
A.C.T.T.,  E.T.U.  and  N.A.T.K.E. 


A.C.T.T.  badges  and  brooches  can 
be  obtained  from  Head  Office. 
Badges  2/-,  brooches  2/4,  post  free. 

March   1957 



Shorts  &  Documentary 

Steve  Cox  Writes  : 

The  latest  of  our  '  Get-together" 
evenings  on  "The  Films  We  Make" 
was  held  on  Tuesday,  February 
19th  at  the  Mezzanine  Cinema, 
Shell  Mex  House.  Once  again  it 
proved  a  successful  and  well- 
supported  venture.  Three  films 
were  shown,  all  made  for  theatri- 
cal distribution. 

The  first  film,  Do  You  Remem- 
ber, sponsored  by  the  British 
Transport  Commission,  was  intro- 
duced by  Director  Tony  Thompson. 

Designed  for  general  audiences 
and  employees  of  London  Trans- 
port, it  explained,  in  a  very  light- 
hearted  manner,  the  workings  of 
the  Lost  Property  Dept.  of  the 

The  second  film,  Pit  Incident, 
sponsored  by  the  Coal  Board  and 
introduced  by  Alun  Falconer,  was 
a  theatrical  version  of  a  longer 
training  film,  made  by  the  Coal 
Board's  Safety  Branch,  based  on  an 
actual  pit  fire. 

The  third  film.  Foothold  in 
Antarctica,  sponsored  by  the  Bri- 
tish Petroleum  Company,  was 
made  by  World  Wide  Pictures,  and 
introduced  by  Director-Camera- 
man Derek  Williams.  This  was  a 
colour  film,  about  25rr  of  it  "  blow- 
up "  from  Kodachrome,  the  rest 
in  Eastmancolour,  showing  the 
first  journey  of  the  Commonwealth 
Trans-Antarctic  Expedition  led  by 
Dr.  Vivian  Fuchs  to  set  up  its 
Base  in  the  Weddell  Sea. 

Ideas  on  Technique 

In  the  course  of  the  discussion 
that  followed  the  showing  of  the 
films  some  interesting  ideas  on 
technique  came  up.  Tony  Thomp- 
son explained  that  his  film  was  in- 
tended to  be  of  a  humorous 
nature,  and  that  the  personnel  of 
the  Lost  Property  Office  were  very 
helpful  and  co-operative.  Someone 
suggested  that  the  film  gave  the 
impression  that  we  could  now  lose 
things  more  confidently. 

Alun  Falconer  explained  how  the 
"  Incident  "  in  the  mining  film  was 
rigged  and  how  the  miners  them- 
selves thought  that  the  "fire  squad" 
took  everything  too  calmly. 

Derek  Williams  said  he  thought 
films  came  into  two  categories : 
"  films  that  you  control  and  films 
that  control  you."  Foothold  in 
Antarctica  came  in  the  second 
category,  because  one  "  shot  "  as 
one  went  and  knocked  it  into  shape 

Lab  Topics 


A  If  Cooper 

The  A.G.M.  again  gave  many  of 
our  members  an  opportunity  to 
chat  with  old  friends  who,  owing  to 
various  changes  of  jobs,  do  not 
meet  in  the  course  of  the  year. 
This  year  I  felt  that  apart  from 
the  hardy  annuals  many  fresh 
faces  appeared  and  those  wearing 
a  television  hat  certainly  knew 
why  they  came  and  just  what  they 
require  from  their  Union  and  their 
employers  in  the  coming  year.  We 
in  the  Laboratories  certainly  wish 
them  every  success  and  support. 

The  problem  worrying  the  labs — 
the  growth  of  monopoly  control  in 
the  industry — had  a  very  good 
hearing  at  the  meeting,  and  the 
emergency  resolution  instructing 
the  new  General  Council  to  watch 
and  combat  this  problem  was  adop- 
ted in  full. 


The  problem  of  Trade  Union 
recognition  by  Kodak  Limited 
again  came  in  for  some  very  hard 
words  and  the  membership  gave 
everybody  to  understand  that  it 
takes  a  very  bad  view  of  American 
firms  trading  in  this  country  and 
giving  the  unions  the  brush-off, 
and  most  certainly  expects  the 
next  Annual  Report  to  show  a 
marked  improvement  in  this  situa- 
tion, in  fact,  complete  recognition 
of  A.C.T.T.  by  Kodak. 

I  have  often  wondered  why  firms 
that  are  up  against  trade  unions 
are  not  automatically  boycotted  by 
all  workers  up  and  down  the 
country.  Most  workers  are  mem- 
bers of  trade  unions  and  a  little 
personal  effort  by  each  of  us 
against  these  companies  would 
have  a  very  good  effect. 

George  Plays  Truant 

To  those  members  who  did  not 
attend  the  A.G.M.  let  me  say  that 
if  they  had  the  impression  it  would 
be  dull  owing  to  the  absence  of 
our  General  Secretary  they  were 
very  wrong  because,  apart  from 
the  very  able  way  Bert  Craik  filled 
the  breach,  George  Elvin  was  able 
to  play  truant  from  hospital  and 
spend  a  few  hours  with  us  during 
Sunday,  and  indeed  was  up  on  his 
feet  on  a  couple  of  occasions  lead- 
ing forth  as  only  George  can.  The 
fact  that  George  was  able  to  attend 
this  meeting  is  a  sign  he  is  on  the 
right  road  to  good  health,  a  fact 
that  the  whole  membership  is  very 
thankful  for. 

To  all  Laboratory  Shop  Stewards: 
Will  you  please  start  right  away 
sending  in  your  reports  for  inclu- 
sion in  the  April  issue  of  the 
Journal.    Thanks. 

afterwards.  One  of  the  draw-backs 
of  this  type  of  film  was  that  the 
director  did  not  see  his  rushes. 

Must  Persuade  Sponsors 

The  general  feeling  at  the  end  of 
the  discussion  was  that  sponsors 
must  be  persuaded  into  broader 
and  better  films  and  that  producers 
with  "  guts "  were  needed  to  put 
the  true  points  over. 

It  is  clear  from  the  interest 
shown  at  the  meetings  that  there  is 
a  real  demand  for  them,  so  please 
come  along  to  the  next  one  with 
your  idea  as  to  the  type  of  show 

you  would  like,  and  let  the  Com- 
mittee know  what  it  is. 

I  would  like  to  thank  Dennis 
Segaller  for  his  assistance  in  com- 
piling this  report. 

Now  for  some  news,  Norman 
Hemsley  tells  me  that  Cameraman 
Norman  Johnson,  and  Dickie  Lorri- 
more  were  leaving  for  New  Guinea 
on  March  13th  on  the  Whispering 
Giant  to  shoot  some  material  for 
the  British  Petroleum  Company. 
They  hoped  to  spend  one  night  in 
Sydney  on  the  way.  I  understand 
that  Norman  was  taking  a  New- 
man and  a  spare  spring.  I  wasn't 
told  if  he  was  taking  any  film! 



March   1957 


President's  Speech 

THE  growth  of  Television  and  the 
shift  in  emphasis  that  this 
would  entail  in  the  future  work  of 
A.C.T.T.  were  stressed  by  the 
President  in  his  address  opening 
the  Twenty-fourth  Annual  General 
Meeting,  which  was  held  at  the 
Beaver  Hall,  Garlick  Hill,  on 
March  9th  and  10th. 

Until  now  the  production  of  films 
for  showing  in  cinemas  had  been 
our  main  preoccupation,  the  Presi- 
dent said. 

The  recent  figures  of  over  6i 
million  television  licence-holders  in 
the  United  Kingdom  showed  the 
rapid  growth  of  what  the  film  die- 
hards  still  called  a  competitor  but 
which  we,  with  members  operating 
in  both  fields,  should  and  must 
call  an  ally. 

"  I  hope,"  the  President  con- 
tinued, "  that  instead  of  continuing 
to  snarl  at  each  other  cinema  and 
television  will  get  together  and  see 
how  they  can  be  complementary.  I 
realise  many  headaches  will  have 
to  be  endured  meanwhile. 

"  Our  friends  the  musicians  will 
recall  how  it  was  said  the  radio 
would  kill  the  demand  for  the  live 
orchestra.  But  the  result  has  in 
l':irt  been  a  stimulus.  I  believe  that 
with  wisdom  on  both  sides  the 
same  beneficial  results  can  be 
achieved  in  the  effect  of  the  growth 
of  television  on  cinema  going." 

Referring  to  the  responsibilities 
which  Television  entailed,  the 
President  said  :  "  Many  of  us,  and 
indeed  our  Union  officially,  whilst 
welcoming  the  employment  which 
independent  television  provides, 
were  highly  critical  of  the  Govern- 
ment policy  which  established 
alternative  programmes  to  the 
B.B.C.  in  their  present  form. 

"  Experience  to  date  has  obliged 
us  to  pinpoint  the  almost  com- 
plete failure  of  the  Programme 
Contractors  to  fulfil  their  obliga- 
tions to  put  out  a  balanced  pro- 
gramme, and  we  are  alarmed  at 
the  generally  low  standard  and 
trivial  content  of  independent  tele- 
vision. Money  has  been  spent 
mainly  on  those  types  of  pro- 
gramme calculated  to  attract  a 
majority  audience,  which  we  fore- 
saw was  bound  to  happen  if  adver- 
tisers had  to  be  relied  upon  to  pay 
for  the  programmes. 

Ever-decreasing  Quality 

"  As  a  statement  recently  issued 
by  the  General  Council  said,  wo, 
representing  the  creative  workers 
in  this  field,  are  of  the  strong 
opinion  that  immediate  steps 
should  be  taken  to  stem  the  ten- 
dency towards  an  ever  decreasing 
quality  and  its  consequent  effect  on 
public  taste,  and  that  the  enormous 
power  of  commercial  television 
should  not  merely  be  used  for 
frivolous  entertainment." 

Turning  from  Television  to  the 
Government's  Cinematograph  Films 

Bill  now  before  Parliament,  the 
President  said  :  "  Let  me  say  right 
away  that  we  welcome  the  Bill 
because  it  will  preserve  and 
strengthen  British  film  production. 
But  it  has  a  number  of  short- 

Shortcomings  of  Bill 

Whilst  it  was  good  that  the  Bri- 
tish Film  Production  Fund  had 
been  put  on  a  compulsory  basis, 
the  method  of  deciding  each  year's 
amount  would  hamper  and  not  en- 
courage production.  The  annual 
levy  might  be  anywhere  between 
£2  million  and  £5  million.  There 
was  no  indication  as  to  where  be- 
tween these  two  extremes  the 
actual  figure  each  year  would  fall. 
The  low  figure  was  clearly  inade- 
quate and  the  top  figure,  although 
an  improvement  on  the  present 
level,  was  only  somewhere  near 
the  mark  of  the  industry's  needs 
if  production  remained  at  its  pre- 
sent level  and  cost. 

One  of  the  shortcomings  of  the 
present  voluntary  scheme,  which 
was  repeated  in  the  new  Bill,  was 
that  it  tended  to  restrict  rather 
than  increase  production  because 
the  Fund  was  a  fixed  figure  and 
therefore  the  greater  the  number 
of  films  produced,  the  less  was  the 
levy  available  to  the  producer  of 
each  film.  The  President  hoped 
that  during  the  passage  of  the  Bill 
through  Parliament  there  would  be 
clarification  as  to  how  the  amount 
of  the  Fund  was  to  be  ascertained 

March   1957 



STEPHEN    SWINGLER,    M.P.,    A.C.T.T.'s    GUEST    OF    HONOl R 

each  year  and  also  that  the  size  of 
the  Fund  each  year  would  be  suffi- 
cient to  ensure  that  the  producer 
of  all  but  the  unfortunate  flop  will 
recover  his  production  costs. 

The  question  of  advance  notice 
as  to  the  size  of  the  Fund  for  each 
ensuing  year  was  also  important  if 
production  was  to  be  properly 

The  Quota  Act 

We  were  unanimous  in  welcom- 
ing the  provisions  in  the  Bill  for 
keeping  the  National  Film  Finance 
Corporation  alive  and  providing 
for  the  Quota  Act  to  run  for  a 
further  ten  years,  but  we  were 
equally  unanimous  in  condemning 
the  intention  of  the  Government  to 
let  the  Quota  Act  continue  un- 
changed in  substance. 

All  sections  of  the  industry  had 
numerous  points  to  put  forward 
for  improving  the  Act  and  some  of 
them  were  of  vital  importance  if 
the  protection  of  the  next  ten  years 
is  to  do  the  job  it  is  intended  to  do. 

"  I  am  therefore  glad  that  fol- 
lowing pressure  from  the  unions 
and  producers  we  shall  now  have 
an  opportunity  to  put  forward 
amendments  for  consideration.  But 
it  is  regrettable  that  it  is  the  Gov- 
ernment's intention  that  the  Bill 
should  go  through  unamended  in 
substance  and  we  have  to  wait  till 
an  unnamed  future  date  for  amend- 
ing legislation  to  the  Quota  Act." 

There  was  developing,  quite 
legally  under  the  wording  of  the 
present  Act,  a  position  whereby 
pictures    were    made    for    British 

Quota  which  scarcely  employed 
anybody  from  the  United  Kingdom. 
Films  made  under  the  stimulus  of 
a  United  Kingdom  Act  of  Parlia- 
ment should  employ  predominantly 
United  Kingdom  labour  and  be 
processed  in  United  Kingdom 
laboratories.  Therefore  a  new  defi- 
nition of  a  British  film  was  one  of 
the  main  amendments  we  require. 

Whole  Basis  Wrong 

We  also  wanted  an  abolition  of 
the  position  of  our  films  being  a 
junior  partner  to  American  films. 
The  whole  basis  of  the  present  Act 
was  wrong  whereby  we  were 
graciously  permitted  to  have  shown 
in  British  cinemas  a  relatively 
small  number  of  films,  the  actual 
number  of  which  rose  or  fell 
according  to  the  number  of  Ameri- 
can films  shown.  Let  us  start  on 
the  assumption  of  British  films  be- 
ing the  dominating  factor  in  a 
British  market,  the  foreign  films 
shown  being  a  stipulated  quota 
based  on  our  own  product. 

We  wanted,  too,  authority  for 
the  State  to  acquire  a  circuit  of 
cinemas  equal  in  size  and  booking 
power  to  the  present  main  cir- 
cuits. A  third  circuit  would  ensure 
the  fair  distribution  and  showing 
of  independent  productions. 

The  President  welcomed  the  in- 
itiative of  Mr.  John  Davis  in  pro- 
posing the  meetings  now  being 
held  between  the  British  Film  Pro- 
ducers' Association  and  N.A.T.K.E., 
E.T.U.  and  A.C.T.T.  In  the  past, 
efforts  to  discuss  industry  prob- 
lems, other  than  salaries  and  work- 

ing conditions,  on  such  a  joint 
basis  had  petered  out  in  failure. 
This  new  effort  started  off  by  an 
appreciation  that  the  interests  of 
producers  and  employees  were 
either  identical  on  a  number  of 
key  issues  or  at  least  so  close  to 
each  other  as  to  make  co-operation 
possible.  Some  of  the  matters 
which  the  President  touched  on  had 
been  covered  in  these  discussions 
and  he  was  sure  that  if  these  talks 
continued  in  the  spirit  in  which 
they  have  been  started  nothing  but 
good  could  come  from  them.  But 
at  the  same  time  neither  side  must 
expect  that  because  there  were 
these  talks  on  common  ground,  one 
side  or  the  other  would  be  expected 
to  soft-pedal  on  legitimate  claims 
in  other  directions. 

International  Federation 

One  of  the  disappointments  of 
the  post-war  world  had  been  the 
failure  to  establish  any  inter- 
national federation  of  film  techni- 
cians. We  had  always  maintained 
friendly  relations  with  technicians 
of  other  countries  and,  indeed, 
there  had  been  some  extension  in 
our  contacts  during  the  past  year. 
But  the  split  in  the  international 
Trade  Union  Movement  had,  if  not 
entirely  responsible,  been  a  main 
obstacle  in  bringing  technicians  of 
all  countries  into  close  association. 
Since  the  Annual  Report  was  pre- 
pared A.C.T.T.  had  received  an  in- 
vitation to  attend  a  conference  con- 
vened by  the  International  Con- 
federation of  Free  Trade  Unions  to 

(Continued  on  page  40) 



March   1957 



consider  once  again  the  establish- 
ment of  an  International  Federa- 
tion of  Entertainment  Workers.  In 
principle  we  naturally  welcomed 
the  move  but  the  General  Council 
had  reaffirmed  its  policy  that 
A.C.T.T.  could  only  associate  with 
any  such  federation  provided  it  was 
of  an  all-embracing  character.  In 
the  same  way  as  film  technicians 
joined  our  union  whatever  their 
personal  politics  so  we  demanded 
the  right  to  co-operate  inter- 
nationally with  the  film  workers 
of  all  other  countries  whatever 
their  personal  or  their  parent 
organisation's  politics. 

"  Our  friends  the  actors  and 
musicians  are  members  of  inter- 
national federations  operating 
under  this  principle.  We  support 
them  and  will  not  join  any  federa- 
tion which  rules  to  the  contrary. 
We  want  to  be  equally  friendly  and 
co-operative  with  film  workers  of 
America,  the  Soviet  Union,  West- 
ern and  Eastern  Europe  and 
throughout  the  world,  and  whilst 
there  are  big  political  differences 
between  the  Trade  Union  centres 
in  these  countries,  we  hold  they 
should  not  be  carried  down  to  tech- 
nical and  professional  level.  There 
is  enough  division  in  the  world 
without  film  technicians  refusing 
to  speak  to  film  technicians." 

"  I  doubt  if  the  Government  will 
any  longer  try  to  talk  the  jargon 
of  wage  restraint,  but  even  if  it 
still  feels  so  inclined  it  could  well 
save  its  breath  as  the  entire  British 
Trade  Union  Movement  has  made 
clear  that  it  is  not  going  to  stand 

by  and  see  the  standard  of  living 
of  its  members  deteriorate.  I  know 
you  wholeheartedly  endorse  this 
determination  and  the  incoming 
General  Council  will  not  be  back- 
ward in  putting  forward  the  neces- 
sary demands." 

"  ON"    PAROLE  " 

George  Elvin,  out  of  hospital  for  a  few   hours,   chats   with 

the  President  and   Stephen   Swingler 

Hectic  Year  Ahead 

Matters  had  been  relatively  quiet 
on  the  negotiating  front  during  the 
past  year  but  it  seemed  certain 
that  this  year  would  be  hectic. 
"  The  Government's  policy,"  the 
President  said,  "  makes  wage  de- 
mands inevitable.  The  higher 
rents,  as  a  result  of  the  Rent  Bill, 
the  increases  in  the  cost  of  school 
dinners  and  children's  milk,  the  in- 
creased insurance  contributions  and 
higher  prescription  charges,  and 
the  whole  pattern  of  Government 
policy  will  impose  burdens  on  our 
members  and  their  families  which 
will  make  wage  demands  inevit- 
able. Yet  at  the  same  time  the 
Government  hastens  to  impose 
these  burdens  it  talks  but  does 
nothing  about  the  £1,500  million  a 
year  defence  bill. 

"  Economies  in  this  direction 
would  not  only  provide  all  the 
revenue  and  more  which  the  Gov- 
ernment aims  to  obtain  by  its 
attacks  on  the  social  services  but 
would  also  make  it  possible  to 
undo  the  effect  of  other  burdens 
they  have  imposed  on  us  previous 
to  their  recent  pronouncements. 


^  was  A.C.T.T.'s  guest  of  honour, 
described  the  Government's  Film 
Bill  as  "  a  very  makeshift  and  un- 
inspiring effort,  a  very  dreary  re- 
production of  past  palliatives." 

"  It  comes,"  he  said,  "  of  rather 
weak  parentage,  and  it  has  cer- 
tainly had  a  premature  birth. 
Frankly,  I  hope  that  the  Unions  in 
the  industry  are  going  to  kick  up 
a  hell  of  a  row  about  amendments 
to  the  quota  system. 

"  I  see  absolutely  no  reason  why 
the  Government  should  have  re- 
produced, after  all  these  years  of 
experience,  an  unamended  repeti- 
tion of  the  Quota  Act,  since  they 
are  in  possession  of  all  the  results 
of  your  labours  and  the  labours  of 
others  that  took  place  last  year, 
although  we  who  sit  in  the  House 
have  not,  of  course,  had  the  benefit 
we  should  have  had  of  having  seen 
a    it-port   and   recommendations   of 

the  National  Film  Finance  Cor- 
poration after  all  the  consultations 
and  discussions  last  year.  I  think 
that  makes  it  even  more  important 
that  you  should  kick  up  a  row  and 
we  on  the  Committee  shall  cer- 
tainly do  our  best  in  that  direction. 

"  I  welcome  very  much  the 
widening  area  of  agreement  which 
has  developed  in  this  industry 
about  matters  of  taxation  and  pro- 
duction amongst  the  unions  and  I 
look  forward  to  this  widening  area 
of  agreement  on  what  should  be 
done  about  film  production  and  the 
taxation  of  the  cinemas  having  its 
political  impact.  But  there  has  to 
be  much  more  pressure  yet  before 
that  can  come  to  fruition. 

"  The  trouble  with  Government 
policy  on  films  is  a  fundamental 
one  and  we  need  today  a  new  and 
honest  approach  to  the  whole  sub- 
ject. There  is  a  lot  of  bunk  being 
talked  at  the  moment  about  free 
trade.     The    question    is — freedom 

March   1957 



for  whom?  Of  course  everybody 
wants  to  see  trade  barriers  between 
countries  being  broken  down  but 
we  don't  want  to  see  it  done  at  the 
expense  of  killing  our  own  produc- 
tion and  killing  our  own  industry, 
and  it  is  clear  to  those  of  us  who 
are  not  completely  blind  that 
laissez-faire  capitalism  would  per- 
manently limit  us  to  the  position 
of  Hollywood's  49th  (or  is  it  50th?) 
market.  And  the  outlook  of  boom 
or  bust  in  this  industry  would  be 
fatal  to  British  films. 

"I  believe  that  Britain  is  entitled 
to  claim  for  British  filming,  as  we 
claim  for  British  farming,  guaran- 
teed and  expanding  markets,  fair 
returns  to  producers  and  full  em- 
ployment for  the  workers  in  the  in- 
dustry, and  we  should  constantly 
press  upon  our  political  represen- 
tatives who  go  to  international 
trade  negotiations  that  they  should 
stand  up  openly  and  honestly  for 
the  rights  of  the  Government  in 
this  country  to  subsidise  British 
film  production  and  to  give  special 
tax  relief  to  the  exhibitors  to  en- 
courage them  to  make  British 

No  Museum  Piece 

"  We  don't  want  just  to  preserve 
the  British  film  industry  as  a  static 
museum  piece.  We  want  to  see  an 
expanding  industry  and  a  fostering 
of  the  best  talent  we  have. 

"  The  Government  takes  enough 
money  out  of  cinemas  and  they 
should  put  more  of  that  money 
back  into  production,  and  put  it 
back  directly  in  my  opinion.  That 
is  why  I  want  to  see  enlarged  the 
agitation  for  a  state  film  corpora- 
tion in  Britain  and  for  a  national 
circuit  of  cinemas  because,  in  my 
view,  these  are  the  only  ways  in 
which  we  can  ensure  full  employ- 
ment in  the  industry  and  its  ex- 

"  Your  industry,  like  all  industry, 
depends  in  the  last  resort  on  the 
living  standards  of  the  people  who 
go  to  the  cinemas,  and  we  are  not 
going  to  maintain  the  habit  of 
cinema-going  or  maintain  the  pay- 
ments on  the  purchase  of  TV  sets 
by  a  policy  that  takes  profits  out 
of  the  pockets  of  the  poor  and  puts 
bigger  profits  in  the  pockets  of 
the  stockholders  and  landlords." 

Mr.  Swingler  said  he  was  con- 
stantly told  one  must  not  raise 
certain  questions  because  it  would 
annoy  America  at  international 
trade  conferences.  "  That  is  why," 
he  said,  "  we  are  told  we  should 
not  raise  the  question  of  state 
subsidy  for  film  production,  or 
special  tax  relief  for  encouraging 
home  production  because  it  would 
be  contrary  to  G.A.T.T.  and  Holly- 
wood would  not  like  it." 

Members  in  Debate 

Below  are  summarised  some  of  the  more  important  debates  on 
individual  A.G.M.  Resolutions 


One  of  the  most  important  items 
on  the  A.G.M.  Agenda  was  the 
resolution  (No.  18)  on  Television 
Organisation  moved  by  John  War- 

This  resolution  noted  the  excel- 
lent work  accomplished  in  the  field 
of  television,  particularly  in  regard 
to  the  new  draft  Agreement  and 
the  formation  of  the  Television 
Branch.  It  asked  the  incoming 
General   Council : 

(a)  to  be  unremitting  in  its  TV 
recruitment  drive; 

(b)  periodically  to  circularise  all 
television  members  with  a 
bulletin  informing  them  of 
the  working  being  done  on 
their  behalf;  and 

(c)  that  all  provincial  centres 
should  be  visited  by  an 
Organiser  at  least  once  a 

Not  A  New  Medium 

Moving  on  behalf  of  the  TV  Pro- 
ducer/Directors' Section  John  War- 
rington stressed  that  TV  was  not 
a  new  medium.  It  was  over  20 
years  old.  It  had  been  a  major 
part  of  entertainment  for  10  years, 
had  been  a  tremendous  industry  for 
five  years,  and  two  years  ago  com- 
mercial television  was  in  operation. 
It  was  not  a  toy  or  a  Government 

He  calculated  that  the  output  of 
Independent  Television  in  London 
alone  was  equivalent  to  nearly  40 

"  We  have  a  Government  that 
was  prepared  to  defy  Washington 
on  certain  important  things  and  to 
accuse  other  governments  of  pur- 
suing evil  policies  in  other  cases, 
but  it  is  not,  apparently,  prepared 
to  '  go  it  alone  '  in  the  right  direc- 
tion. I  think  that  to  stand  up  for 
a  state  subsidy  for  British  films 
would  be  a  right  policy.  I  think 
that  to  introduce  a  discriminatory 
taxation  relief  for  British  films 
would  be  a  good  way  of  standing 
up  for  British  national  indepen- 

first  feature  films  per  week.  The 
staff  needed  for  television  was  suffi- 
cient to  make  nearly  12,000  feature 
films  per  year. 

The  staff  were  young  and  en- 
thusiastic. They  were  Directors, 
Cameramen,  Engineers  and  Sound 
Technicians,  all  with  the  ideal  of 
putting  out  the  best  programme 
that  they  were  allowed  to  put  out 
by  a  very  unambitious  B.B.C.  or 
advertising  executives,  but  these 
young  people  knew  nothing  about 

One   Indivisible  Union 

While  raising  this  criticism  John 
Warrington  stressed  at  the  same 
time  that  "  We  are  one  Union,  in- 
divisible. We  are  not  against 
A.C.T.T.,  we  are  fighting  on  your 
behalf."  He  then  referred  to 
struggles  against  the  Association 
of  Broadcasting  Staffs,  and  de- 
clared that  its  real  aim  was  to  pre- 
vent any  extension  of  A.C.T.T.  "We 
are  fighting  not  only  the  B.B.C, 
not  only  the  Contractors,  but  those 
who  are  well  organised  and  are 
determined  to  prevent  the  exten- 
sion of  our  Union." 

He  urged  the  need  for  increasing 
the  staff  of  A.C.T.T.  in  order  to 
provide  a  full-time  first  class 
Organiser  for  Television. 

He  also  stressed  the  need  for 
continual  publicity  regarding  what 
A.C.T.T.  was  doing  in  the  Tele- 
vision field. 

Monthly  Visits  Urged 

Vivian  Milroy,  seconding,  urged 
that  the  provincial  centres  should 
be  visited  by  an  Organiser  at  least 
once  a  month.  He  was  critical  of 
the  amount  of  information  on  Tele- 
vision in  the  Journal  and  urged  the 
need  for  a  bulletin  being  issued  to 
every  single  member  at  least  once 
a  month  to  inform  them  of  what 
was  going  on.  It  was  very  likely, 
he  added,  that  there  were  good 
reasons  why  negotiations  for  a 
Television  Agreement  should  have 
taken  over  a  year  and  still  no  final 
agreement  had  been  reached,  but 
(Continued  on  page  42) 



March    1957 



people  in  the  industry  were  un- 
happy about  it,  thinking  it  had 
been  shelved  or  forgotten.  If  they 
had  been  told  of  what  was  being 
done,  or  if  that  was  difficult,  even 
of  the  number  of  meetings  that 
had  been  held  they  would  at  least 
know  what  was  going  on. 

Desmond  Davis,  agreeing  with 
the  mover  and  seconder,  said  our 
record  over  this  Agreement  had 
not  been  good  but  there  were  very 
good  reasons  for  this,  and  it  was 
no  good  belly-aching  about  the 
past.  He,  too,  urged  the  need  for  a 
"  cracking  good  Organiser  ". 

Organise  in  the  Shops 

Leon  Clore  said  one  could  not 
always  put  in  resolutions  to  the  in- 
coming General  Council  and  Ex- 
ecutive giving  them  the  respon- 
sibility for  the  drive  for  member- 
ship; that  was  really  the  respon- 
sibility of  people  on  the  floor.  One 
could  not  always  refer  it  back.  He 
stressed  the  need  for  organising 
in  the  Shops  themselves. 

Kurt  Lewenhak  stressed  that 
A.C.T.T.  was  a  national  union  with 
nation-wide  responsibilities,  and  it 
must  organise  as  such.  He,  too, 
strongly  urged  the  need  for 
monthly  visits  to  provincial  centres 
and  suggested  that  it  might  be 
possible  for  A.C.T.T.  to  establish 
some  kind  of  regional  office  which 
could  be  used  as  a  base  for  an 
Organiser  who  could  cover  Bir- 
mingham, Manchester  and  Scot- 

Alf  Cooper  welcomed  the  new 
blood  and  fresh  faces  in  A.C.T.T. 
and  the  enthusiasm  of  the  Tele- 
vision members.  He  agreed  that 
they  needed  staff  representation 
from  Head  Office  and  the  support 
of  the  General  Council.  He  referred 
to  early  experiences  in  the  Labora- 
tories and  Studios  and  urged  that 
members  in  TV  "  must  fight  like 
hell  ",  and  then  at  the  next  A.G.M. 
they  would  not  be  talking  about 
getting  an  agreement  but  about 
getting  improvements  in  the  agree- 
ment they  had  obtained  in  the 

The  resolution,  which  was  sup- 
ported by  the  General  Council,  was 
carried  unanimously. 


Another  resolution  on  Television 
(No.  17),  moved  by  Desmond  Davis, 
reaffirmed  A.C.T.T.'s  policy  of 
100%  membership  in  the  appro- 
priate grades  in  television,  noted 
that  negotiations  between  the  Pro- 
gramme Contractors  and  A.C.T.T. 
were  progressing  but  regretted  the 

delay  in  coming  to  a  final  agree- 
ment. It  also  drew  the  attention 
of  the  Postmaster-General  and  the 
T.U.C.  to  the  fact  that  the  B.B.C. 
still  refused  to  recognise  A.C.T.T.  in 
the  Television  field.  The  resolution 
pledged  wholehearted  support  to 
the  incoming  General  Council  and 
the  Television  membership  in  any 
action  deemed  necessary  for  the 
establishment  of  Trade  Union  stan- 
dards in  this  field  of  work.  Moving 
the  resolution,  Desmond  Davis  said 

FOR  1957 

President:    Anthony    Asquith 

Vice-Presidents : 

Max  Anderson 
Alf  Cooper 
Sidney  Cole 
Desmond  Davis 
Terry  O'Brien 
Charles  Wheeler 

Treasurer:  Frank  Fuller 

General  Council: 

Ralph  Bond 
Chris  Brunei 
Kenneth  Gordon 
Desmond  Dickinson 
Walter  Lassally 
Fred  Swann 
Lindsay  Anderson 
Derek  Twist 
Monica  Toye 
George  Irons 
Len  Runkel 
Ray  Sharpe 
Sid  Bremson 
Bill  Whittemore 
Harold  Clayton 
Tony  Shine 
Ken  Roberts 


Geoffrey  Bell 
Basil  Wright 

the  membership  strength  in  Tele- 
vision was  growing  apace  but  one 
must  not  be  content  with  less  than 
100%  membership.  They  must 
work  hard,  then  they  could  talk 
real  turkey,  and  they  wanted  to 
talk.  They  must  have  a  well- 
organised  recruiting  drive  and  they 
must  have  missionary  zeal  from 
individual  members.  "  It  is  up  to 
you  personally  to  get  this  100' ; 
membership,"  he  said.  Referring  to 
the  negotiations  for  an  agreement 
with  the  Programme  Contractors 
he  said  this  was  a  matter  of  the 
most  ghastly  complexity.  It  was 
not    a    question    of    an    agreement 

with  one  organisation  but  with  five 
separate  organisations,  each  with  a 
different  method  of  working  and  a 
different  scale  of  pay  and  different 
grades.  "  So  we  never  know  what 
the  devil  we're  talking  about." 
Referring  to  the  B.B.C.'s  refusal 
to  recognise  A.C.T.T.,  he  said  that 
the  B.B.C.  hit  with  a  manicured 
hand.  When  we  went  to  the  B.B.C. 
and  said  that  we  represented  60' , 
of  their  employees  working  in  the 
grade  of  Cameraman  and  we 
wished  to  be  recognised,  they  re- 
plied that  they  had  no  grade  of 
Cameraman,  the  gentlemen  who 
operated  their  cameras  were  En- 
gineers of  a  certain  grade.  "  This, 
of  course,  is  no  more  than  a  bare- 
faced fiddle  with  words  and  I  call 
upon  the  incoming  General  Council 
to  take  firm  measures  to  put  an 
end  to  this." 

Tony  Shine,  seconding,  referred 
to  the  negotiations  for  an  Agree- 
ment and  said  that  although  the 
first  draft  had  been  torn  up  on  the 
spot  by  the  Executive  they  had  at 
last  got  something  and  every  sec- 
tion would  have  to  see  it  before 
it  went  back  to  the  Programme 

A  Cast  Iron  Case 

George  Elvin  said  that  he  felt 
he  could  not  go  back  to  his  hospital 
supper  without  speaking  on  one 
resolution,  and  he  had  chosen  this 
particular  one.  Desmond  Davis  had 
said  that  A.C.T.T.  had  a  cast-iron 
case  for  being  recognised  by  the 
B.B.C.  in  Television.  "  We  must 
take  a  lesson  from  the  Musicians' 
Union  and  Equity  who  equally  had 
this  problem  and  faced  up  to  it  by 
action.  The  Musicians'  Union 
sought  recognition  not  by  arguing 
but  by  a  threatened  stoppage  on 
the  job  and  we  must  be  as  militant 
in  order  to  be  recognised.  We  must 
have  a  similar  showdown  with  the 
B.B.C.  to  that  which  the  Musicians 
and  Equity  had." 

In  the  Laboratories  agreements 
were  taken  for  granted,  but  they 
were  not  taken  for  granted  as  far 
as  Television  was  concerned.  "  We 
have  got  to  work  hard  in  the  next 
few  months  to  get  through  in 
Television  the  same  sort  of  agree- 
ments as  in  films." 

Bert  Craik  hoped  that  members 
would  not  get  too  despondent  be- 
cause the  Programme  Contractors 
were  still  talking  to  us.  "  It  is  we 
who  have  held  up  negotiations. 
They  submitted  to  us,  after  talks 
with  our  side,  a  draft  Agreement 
which  the  Executive  were  not 
happy  about  and  we  had  spent 
four  weekends  amending  it,"  he 
said.  We  had  completed  our  work 
(Continwi  <l  mi  /<n</<   46) 

March   1957 



A   Technician's  Notebook 


THE  British  Standards  Institution 
has  issued  a  revised  British 
Standard  for  Photographic  Ex- 
posure Tables.  This  standard  first 
appeared  in  1941  as  a  War  Emer- 
gency Standard  following  upon  a 
request  from  the  Admiralty 

In  1947  a  new  standard  on  speed 
and  exposure  index  of  photographic 
negative  material  was  published 
and  it  was,  therefore,  necessary  to 
revise  the  one  dealing  with  ex- 
posure tables.  At  the  same  time 
the  exposure  values  were  brought 
into  line  with  the  corresponding 
American  Standard  and  this  in- 
volved an  increase  in  the  exposure 
obtained  from  the  tables.  This  in- 
crease was  generally  considered  in 
this  country  to  be  too  large  and  it 
was  explained  in  an  amendment 
that  the  scene  indices  for  black 
and  white  negative  material  incor- 
porated a  safety  factor  of  4  to 
guard  against  the  likelihood  of 
under-exposure  due  to  errors  in 
scene  estimation  and  to  deteriora- 
tion of  emulsions. 

Recent  experience  in  America 
has  confirmed  the  British  view  that 
this  safety  factor  was  too  high, 
and  the  American  Standard  was 
recently  revised  to  incorporate  re- 
duced safety  factors  and  a  modified 
scene  structure  classification. 

The  new  British  Standard  main- 
tains the  alignment  with  the 
American  standard.  There  have 
also  been  other  changes  :  provision 
is  made  for  the  more  logical  series 
of  shutter  speeds  which  is  being 
included  in  the  revised  British 
Standard  "  Camera  Shutters  "  now 
being  prepared;  and  an  appendix 
has  also  been  added  which  gives  an 
approximate  table  for  converting 
the  European  Scheiner,  Weston  and 
DIN  speed  systems  to  the  British 
Standard  (logarithmic)  and  the 
American  Standard  (arithmetic) 
exposure  index. 

Copies  of  this  Standard,  B.S.  935: 
1957,  can  be  obtained  from  the 
B.S. I.,  2  Park  Street,  London,  W.l. 
The  price  is  3/-. 

W.  F.  Dormer  Ltd.  inform  me 
that  the  Camefiex  hire  service  they 
started  several  months  ago  with 
one  camera  has  proved  so  popular 

that  they  now  have  four  outfits 
available,  with  camera  crews  if 

Two  of  the  cameras  are  of  the 
type  which  can  be  converted  to 
shoot     16mm.      in     a     matter     of 


A.  E.  Jeakins 

seconds.  With  16mm.  film  lenses 
down  to  13.5mm.  can  be  used,  with 
35mm.  film  an  18.5mm.  lens  is  pro- 
vided. The  range  of  lenses  extends 
upwards  to  one  of  500mm.  focal 
length.  There  is  a  choice  of  sync, 
or  wild  motors,  and  one  outfit  is 
fitted  with  a  contactor  for  the 
Leevers-Rich  Syncropulse  sound 
system.  A  blimp  is  available  when 
needed.  Magazines  of  100,  200  or 
400  feet  capacity  can  be  supplied. 
Equipment  for  special  applications 
— for  example  time  lapse,  remote 
control,  underwater  photography, 
etc.  can  be  provided. 

Recently  I  gave  some  details  of 
a  "  mirror  "  screen  being  developed 
in  Poland  which  enabled  pictures 
to  be  projected  under  normal  room 
lighting  conditions.  The  "American 
Cinematographer  "  reports  experi- 
mental development  of  a  radically 
new  type  picture  screen  that 
makes  possible  the  viewing  of  tele- 
vision and  motion  pictures  in 
artificially  or  naturally  lighted 
rooms,  by  the  Radio  Corporation 
of  America.  It  is  reported  that  the 
new  screen  makes  possible  in- 
creases of  up  to  20  to  1  in  picture 
contrast  under  adverse  ambient 
light  conditions.  The  R.C.A.  screen 
has  a  honeycomb  structure,  con- 
sisting of  a  network  of  tiny,  inter- 
connecting cells.  It  is  made  of 
aluminium  foil,  001  inch  thick; 
cell  width,  length  and  depth  can 
be  varied  to  produce  a  range  of 
viewing  angles. 

For  motion  picture  use  the 
screen,  or  "  directional  viewing 
device "  as  it  is  called,  can  be 
mounted  in  front  of  the  theatre  or 
home    screen    or    it    can    be   made 

complete  with  a  backing  screen. 
For  TV  use  the  device  would  be 
placed  directly  in  front  of  the 

Last  December  the  Hollywood 
plant  of  Technicolor  Ltd.  passed 
the  5,000  million  mark  in  pro- 
cessed footage.  Most  of  this  foot- 
age was  accounted  for  in  the  form 
of  35mm.  positive  colour  prints 
manufactured  by  the  Technicolor 
imbibition  process.  More  Techni- 
color prints  have  been  made  of 
Gone  With  the  Wind  than  of  any 
other  picture  :  2,000  in  fact,  total- 
ling round  about  41,000,000  feet. 
("American  Cinematographer"). 


Tj^RED  TONGE,  a  Trade  Union 
*-  Organiser  with  thirty  years'  ex- 
perience in  the  Transport  Salaried 
Staffs'  Association,  has  joined  the 
staff  of  A.C.T.T.  as  a  temporary 

He  started  his  Trade  Union 
activities  as  Branch  Secretary  at 
Swindon.  In  1939  he  transferred 
to  London,  and  two  years  later  he 
became  Secretary  of  the  Padding- 
ton  Branch. 

In  1943  he  was  elected  to  the 
National  Executive  of  the  T.S.S.A., 
serving  on  the  Negotiating  Com- 
mittee. He  also  served  for  fifteen 
years  on  the  Superannuation  Com- 
mittee and  for  ten  years  on  the 
Sectional  Council,  which  deals  with 
conditions  of  employment  apart 
from  nationally  negotiated  agree- 

Between  1943  and  1956  he  repre- 
sented the  T.S.S.A.  at  the  T.U.C. 
and  the  Labour  Party  Conferences. 

He  has  been  a  member  of  Trade 
Union  delegations  to  Belgium, 
Austria,  Czechoslovakia  and  the 
U.S.S.R.  He  stood  as  Parliamen- 
tary Labour  candidate  for  Chelsea 
in  1950  and  1951.  In  1952  he  was 
elected  to  the  L.C.C.  for  South 
Hammersmith.  This  constituency 
disappeared  under  the  re-distribu- 
tion of  1955.  In  1956  he  was  elected 
an  Alderman  of  St.  Pancras 
Borough  Council. 



March   1957 

General  Council  in  Session 


TELEVISION.  P.  Leech  reported 
that  full  Committees  were  func- 
tioning in  Associated  Rediffusion 
and  Granada,  Manchester,  and 
there  was  an  A.C.T.T.  Steward  in 
the  A.B.C.  Studios  in  Manchester. 
Our  members  in  I.T.N,  have  formed 
a  committee  and  elected  a  Steward. 
A  shop  meeting  was  held,  at  which 
an  Organiser  was  present,  and  fur- 
ther steps  are  being  taken  to 
organise  this  company  fully.  The 
company  is  now  to  be  represented 
on  the  Programme  Contractors' 
Labour  Relations  Committee.  A 
well-attended  meeting  of  Produc- 
tion Assistants  from  three  of  the 
four  TV  Contractors  was  held.  The 
working  conditions  of  Production 
Assistants  in  A.B.C.  Television  are 
to  be  taken  up  with  the  company. 
Negotiations  have  been  held  with 
Associated-Rediffusion  on  the  re- 
opening of  Studio  9,  and  a  number 
of  redundant  members  have  been 

The  Organiser  was  to  visit  Man- 
chester to  attend  a  joint  committee 
meeting  of  Granada  and  A.B.C. 
Four  weekend  meetings  of  the  Ex- 
ecutive sub-committee  to  amend 
the  Programme  Contractors'  Asso- 
ciation/A.C.T.T.  Agreement  have 
been  held,  with  members  from  the 
main  companies  present. 

ING STAFFS.  A  letter  has  been 
received  from  NATKE  suggesting 
an  informal  meeting  between  Sir 
Tom  O'Brien,  Mr.  Frank  Haxell  of 
the  E.T.U.  and  the  Acting  General 
Secretary  to  discuss  the  activities 
of  the  A.B.S.  in  the  commercial 
television  field  with  a  view  to  a 
joint  approach  to  the  General 
Council  of  the  T.U.C.  The  Execu- 
tive agreed  that  we  should  take 
part  in  these  discussions. 

TION. The  Executive  Committee 
agreed  that  we  should  be  represen- 
ted on  the  Committee  which  this 
Association  proposed  should  be 
established  with  a  view  to  obtain- 
ing trade  union  representation  on 
the  All-Industry  Tax  Committee, 
and  Sidney  Cole  and  Chris  Brunei 
were  appointed  A.C.T.T.'s  repre- 

HAM  AND  ACTON.  The  Acting 
General  Secretary  reported  that  he 
had  written  to  Mr.  Harcourt  re- 
questing an  assurance  on  the 
points  raised  at  the  last  meeting  of 
the  General  Council  and  had  re- 
ceived a  reply  giving  assurance 
that  there  was  no  intention  to 
transfer  personnel  from  one  labora- 
tory to  another  unless  it  was  the 
express  desire  of  a  particular  em- 
ployee. On  the  question  of  possible 
future  redundancy  at  either  labora- 
tory we  were  assured  that  the 
company  would  consider  the  matter 
in  the  light  we  mentioned  and  due 
notice  would  be  taken  of  length  of 

"  SPORTSVIEW ".  The  Acting 
General  Secretary  reported  that 
the  General  Council's  decision  re- 
garding the  printing  of  Sportsview 
had  been  implemented  and  as 
Olympic  had  not  approached  us  by 
the  deadline  date  given  to  them 
we  had  advised  Kay's  Management 
through  the  Shop  Steward  that  it 
was  in  order  for  them  to  print 
Sportsview  if  they  so  wished. 


A  letter  from  the  B.F.P.A.  pro- 
posed to  introduce  shift  work  for 
dubbing  staffs  at  Pinewood  in 
order  to  try  and  avoid  excessive 
overtime  which  otherwise  would  be 
necessary  to  cope  with  the  volume 
of  work.  The  B.F.P.A.  suggested 
a  meeting  with  representatives  of 
NATKE  and  A.C.T.T.  in  order  to 
discuss  detailed  proposals.  The 
letter  was  considered  in  conjunc- 
tion with  the  views  of  the  Pine- 
wood  Committee,  and  it  was  agreed 
that  the  Acting  General  Secretary 
should  reply,  saying  that  we  should 
be  prepared  to  meet  the  B.F.P.A. 
on  our  own  and  under  the  terms  of 
our  agreement. 

SOUND  SECTION.  The  Executive 
reconsidered  the  letter  from  the 
Sound  Section  of  the  8th  October, 
1956  itemising  various  complaints 
and  drafted  a  reply.  In  connection 
with  Ail-In  Contracts,  it  was 
agreed  the  Section  be  advised  that 
both  the  A.S.F.P.  and  B.F.P.A., 
together  with  companies  not  in 
membership  of  these  two  organisa- 

tions, were  written  to  on  this 
matter  last  August.  It  was  also 
agreed  that  Head  Office  should 
send  a  circular  to  all  Feature  and 
Shorts  Shop  Stewards,  and  Section 
Secretaries,  advising  them  that  no 
member,  with  the  exception  of 
those  grades  set  out  in  the  Feature 
Agreement  who  have  the  right  to 
negotiate  an  individual  contract, 
should  sign  contracts  at  an  all-in 
rate  for  location  work. 


(British  Acoustic):  When  the 
Organiser  (P.  Leech)  appeared  at 
the  Works,  the  Steward,  Bro. 
Langdon,  was  informed  that  if  he 
insisted  on  the  Organiser  being 
present  the  Company  would  insist 
that  the  redundancy  issue  become 
one  for  the  Federation  of  Engineer- 
ing Employers,  and  that  their 
representative  would  have  to  be 
present.  Because  of  the  pattern  set 
by  the  employers  at  Federation 
level  on  redundancy,  it  was  felt 
that  to  make  such  an  insistence 
would  be  unwise  at  that  juncture. 
Therefore  the  Organiser  and  Bro. 
Langdon  suggested  to  the  A.E.U. 
and  Sheet  Metal  Workers'  Stewards 
an  approach  to  obtain  the  four-day 
week;  failing  satisfaction  on  this: 

(i)    to    find    the    definite    number 
and  the  departments  involved 
in  the  redundancy; 
i  ii  i    to     reduce     this     number     as 

much  as  possible; 
(iii)   the   principle   of   last    in    first 
out  and  re-engagement  in  the 
the  same  order; 
(iv)   adequate  compensation  (bear- 
ing  in    mind   our   Technicolor 
experienct  ). 
The      Management      could      not 
accept  a  four-day  week  as  the  pre- 
sent position  could  continue  for  a 
year,   but  they   accepted   the   prin- 
ciple of  last   in   first   out,   and   re- 
engagement   in   the   correct   order, 
while    refusing   to   give   the    exact 
number    of    redundancies    and    the 
departments    concerned.     On    com- 
pensation they  refused  to  give  de- 
tails but  refilled  to  their  handling 
of  a  previous  redundancy,  i.e..  after 
3    years   two   weeks'    salary,    after 
5  years  one  month's,  with  a  month 
for   every    5    years'    service    above 
this.     Up  to  3  years,  nothing. 

March   1957 



General  Council 


A  series  of  full  Shop  meetings 
had  been  held,  with  the  A.E.U.  in 
the  main  accepting  the  Manage- 
ment's conditions.  When  the  total 
redundancies  were  announced  they 
involved  some  30  workers,  only 
two  of  whom  were  A.C.T.T.  mem- 
bers. These  members  have  subse- 
quently found  other  jobs  but  at  less 
pay.  A.C.T.T.  members  are  expect- 
ing further  redundancies  and  are 
not  happy  at  the  way  things  have 
gone.  The  A.C.T.T.  committee  is 
meeting  the  joint  works  committee 
to  discuss  future  redundancies  and 
the  policy  that  should  be  pursued. 
This  brief  report  does  not  do  full 
justice  to  the  efforts  of  Bro.  Lang- 
don,  who  has  had  to  fight  under  the 
most  difficult  conditions  and  has 
made  extraordinary  efforts  to  help 
non-members  affected  by  the  re- 

Arising  out  of  this  report  the 
Executive  Committee  agreed  that 
with  a  view  to  working  out  a 
policy  for  the  future  the  Organiser 
should  raise  the  matter  with  the 
A.E.U.  Area  Organiser. 


A  further  approach  was  made  to 
this  company  pressing  for  the  full 
implementation  of  the  Laboratory 
Agreement,  implying  also  that  we 
may  have  no  alternative  but  to 
take  the  matter  to  arbitration  if 
the  matter  could  not  be  settled 
amicably.  The  company  have  writ- 
ten to  say  that  if  they  are  com- 
pelled to  pay  the  full  increases 
they  would  have  only  one  alterna- 
tive, obviously  hinting  that  it 
would  mean  redundancy.  The  offer 
they  have  made  in  writing  is  an 
increase  of  5/6d.  per  week  to  each 
employee  and  a  change  in  the  cost 
of  living  bonus  to  l/6d.  per  point 
from  the  week  commencing  31st 
December,  1956.  The  Executive 
Committee  agreed  that  Bessie  Bond 
should   press   the   case   and   placed 

on  record  their  full  support  to  the 

considering  the  following  declara- 
tion of  this  Bureau  submitted  by 
Anthony  Perry,  the  Executive 
recommended  A.C.T.T.  associate 
itself  with  it : 

"  We,  the  undersigned .  drawn  from 
the  field  of  art  and  sport,  are  dis- 
mayed by  the  danger  that  is  arising 
in  Africa  from  the  theory  and  practice 
of  apartheid.  We  believe  that  the 
theory  is  inhuman,  and  that  the  prac- 
tice restricts  arbitrarily,  even  pro- 
hibits, the  enjoyment  and  the  use  of 
human  talent, 

"  Sport  and  the  arts  are  concerned 
with  those  things  mankind  has  in 
common.  Today,  when  men  increas- 
ingly hunger  for  freedom  and  unity, 
we  believe  that  we  have  a  special 
responsibility  to  cherish  and  advance 
the  liberties  which  have  been  so 
hardly  won  through  the  centuries. 

"  To  impose  any  form  of  discrimi- 
nation on  grounds  of  race,  colour  or 
religion  is  contrary  to  all  we  believe 
and  work  for.  We  are  determined 
nowhere  to  condone  it,  but  to  oppose 
it  by  every  means  in  our  power;  and 
we  invite  anyone  who  shares  our  view 
to  join  us  in  this  declaration." 


TRUST:  The  Acting  General  Sec- 
retary had  written  to  Paramount, 
as  instructed  by  the  General  Coun- 
cil earlier  in  February,  and  had 
received  a  reply  indicating  that  the 
company  was  not  prepared  to  alter 
its  original  attitude  that  it  would 
not  negotiate  with  A.C.T.T.  over 
compensation  for  former  Para- 
mount News  employees.  Bert  Craik 
was  instructed  by  the  Executive  to 
reiterate  that  we  have  a  duty  to 
protect  the  interests  of  our  mem- 
bers; he  had  also  said  that  if  we 
did  not  get  satisfaction  by  return 
of  post  we  would  report  the  matter 
as  a  dispute  to  the  Ministry  of 
Labour  and  take  steps  to  have  the 
matter  raised  in  the  House  of 
Commons.  It  was  reported  to  the 
meeting  that  members  with  long 
service  had  been  given  compensa- 
tion at  the  rate  of  a  week's  pay  for 
every  year  with  Paramount  News, 
and,  in  view  of  all  the  circumstan- 
ces, this  was  regarded  as  in- 


DEPT.  on  probation  for  pensionable  establishment.  Normal  tour  36/45 
months.  Salary  scale  (including  Inducement  Pay)  £1,056  rising  to  £1,341 
a  year.  Commencing  salary  according  to  qualifications  and  experience. 
Free  passages.  Liberal  leave  on  full  salary.  Candidates  should  have  had 
at  least  5  years'  experience  of  sound  recording  in  all  stages  of  film 
production,  the  installation  and  maintenance  of  electronic  equipment 
and  a  thorough  knowledge  of  magnetic  recording  media  and  methods. 
They  must  also  have  had  experience  of  16mm.  production  with  mag- 
netic tracks,  synchromous  recording,  dubbing  and  transfer.  Write  to 
the  Crown  Agents,  4  Millbank,  London,  S.W.I.  State  age,  name  in  block 
letters,    full    qualifications    and    experience    and    quote    M3B/43956/CY. 

The  Council  also  had  before  it 
the  announcement  of  the  formation 
of  the  British  Commonwealth  In- 
ternational Newsfilm  Agency  Trust. 
After  discussion  it  was  agreed  that, 
failing  satisfaction  from  Para- 
mount, the  matter  be  referred  to 
the  Ministry  of  Labour,  and  that 
powers  be  given  to  the  Executive 
to  take  further  action  if  required. 
It  was  further  agreed  to  seek  a 
meeting  with  the  Newsreel  Asso- 
ciation and  to  approach  the  Trust 
immediately  to  discuss  their  work 
and  the  question  of  the  employ- 
ment of  our  members. 


Office  junior  with  typing  experi- 
ence required  for  Records  Depart- 
ment at  A.C.T.T.  Head  Office. 
Applicants  should  phone  Office 
Manager  at  Gerrard  8506  for  inter- 


Composer  wishes  to  break  the 
"  Chicken  or  the  Egg  "  sequence — 
has  written  score  documentary 
film  and  signature  tune  for  indus- 
trial series.  Now  wishes  more 
(much  more!)  film  work.  Capable 
anything  from  "ferronconcrete"  to 
"neo-Stravinsky".  Write  BOX  201, 
Film  &  TV  Technician,  5-6  Red 
Lion   Square,   London,   W.C.I. 

Camera  Hire 

(1)  NEWMAN  SINCLAIR— Mirror  Shutter. 
All  Cooke  Lenses  including  Series  2., 
25mm.,  f.  1.7.  SINGLE  FRAME  EXPOSURE 
and  Electric  Motor  Drive.  (Available  fully 
adapted  for  CINEMASCOPE  if  required.) 

(2)  NEWMAN  SINCLAIR— Mirror  Shutter. 
Cooke  Lenses  and  24mm.  Angineux  Retro- 

(3)  NEWMAN  SINCLAIR— Model  G.  All 
and  Electric  Motor  Drive  if  required. 

Kingston  Tubular  and  Vinten  Light  Gyro 


Metal  construction,  pneumatic  tyres,  drop- 
down jacks,  lightweight  tracks,  etc. 


FINchley  I  595 



March   1957 



now  and  would  submit  the  new 
draft  to  the  Executive,  to  a  meet- 
ing of  the  Television  Section,  and 
then  to  the  Programme  Contrac- 
tors for  negotiation." 

Monopoly  Trends 

As  a  matter  of  emergency  the 
A.G.M.  had  before  it  a  resolution 
in  the  name  of  the  General  Council 
expressing  concern  at  continuing 
monopoly  trends  in  the  film  in- 
dustry, particularly  the  expansion 
of  the  major  cinema  circuits,  the 
absorption  into  the  largest  mon- 
opoly group  of  Olympic  Labora- 
tories, and  the  newly-formed  Bri- 
tish Commonwealth  International 
News  Film  Agency,  and  instructing 
the  General  Council  to  take  such 
action  as  it  deemed  necessary. 

Labs  Worried 

Alf  Cooper,  moving  on  behalf  of 
the  General  Council,  said  that  in 
the  laboratories  they  were  very 
worried  at  the  concentration  of  the 
industry  into  the  control  of  too 
few  people  fighting  one  another  to 
the  detriment  of  the  employees. 
Terry  O'Brien,  seconding,  said  the 

immediate  reaction  of  newsreel 
members  to  the  newly-formed  Bri- 
tish Commonwealth  News  Film 
Agency  was  one  of  fear.  The  dan- 
ger they  saw  lay  in  the  tie-up  with 
the  B.B.C.  and  the  Rank  Organisa- 
tion. They  presumed  the  Rank 
outlet  for  news  would  be  on  closed 
circuit  television.  If  other  circuits 
were  not  so  well  equipped  for  this 
it  meant  all  newsreels  would  be  in 
the  hands  of  Rank.  The  only  other 
outlet  they  had  for  broadcasting 
TV  news  was  I.T.N  who,  signifi- 
cantly enough,  had  not  been  in- 
vited to  join  this  organisation.  The 
contraction  of  outlet  would  obvi- 
ously mean  some  contraction  of 

The  resolution  was  passed. 

Another  emergency  resolution, 
moved  for  the  General  Council  by 
Ralph  Bond  and  seconded  by  R.  J. 
Minney,  stressed  the  need  for  sub- 
stantial alterations  in  the  Quota 
provisions  of  the  Cinematograph 
Films  Act  and  protested  against 
the  decision  of  the  Government  to 
extend  this  section  of  the  Act  for 
a  further  ten  years  without  altera- 
tion. It  noted  that,  following  pres- 
sure from  the  Unions  and  other 
trade  bodies  the  President  of  the 
Board  of  Trade  had  now  under- 
taken   that    later    in    the    year    he 


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would  consult  the  Cinematograph 
Films  Council  and  all  sections  of 
the  industry  about  detailed  amend- 
ments to  the  quota  legislation.  The 
resolution,  which  was  carried, 
stressed  the  need  of  sufficient  Par- 
liamentary time  being  allowed  for 
amending  legislation  before  the 
present  Cinematograph  Films  Act 

The  Government  was  called  upon, 
in  a  resolution  moved  by  Sam 
Napier-Bell,  to  revive  the  former 
policy  of  generous  and  imaginative 
sponsorship  of  documentary  films. 

Artistic  Standards 

Walter  Lassally,  seconded  by 
Lindsay  Anderson,  succeeded  in 
narrowly  defeating  the  General 
Council  on  a  resolution  which  he 
moved  calling  upon  the  incoming 
General  Council  to  accept  respon- 
sibility for  promoting  the  highest 
professional  and  artistic  standards 
in  films,  particularly  when  con- 
sidering the  encouragement  of  new 
talent  into  the  industry,  applica- 
tions for  temporary  membership, 
applications  for  varying  the  estab- 
lished terms  and  conditions  of 
employment  for  special  projects, 
and  exchanges  with  technicians  of 
other  countries. 

Demands  for  the  establishment 
by  the  Government  of  a  National 
Film  Circuit  in  order  to  stimulate 
British  production  and  for  the 
setting  up  of  a  National  Film  Unit 
under  a  National  Film  Board  were 
made  in  two  resolutions  put  for- 
ward by  the  National  Coal  Board 
Technical  Film  Unit.  Both  these 
resolutions  were   passed. 

A  resolution  in  the  name  of  the 
Producer/ Directors'  Section  was 
passed  calling  on  the  General  Coun- 
cil to  investigate  the  possibilities  of 
setting  up  international  co-produc- 
tions along  the  lines  of  those  made 
by  various  combinations  of  Euro- 
pean countries  where  the  films  pro- 
duced were  eligible  for  double  quota. 

The  incoming  General  Council 
was  strongly  urged,  in  a  resolution 
moved  by  Bill  Whittemore,  to  ex- 
amine all  means  of  bringing  pres- 
sure to  bear  on  Kodak  with  the 
object  of  achieving  recognition  of 


Cover  still  by  Ian  Jeayes  is  of 
Dirk  Bogarde  and  Brigitte  Bardot 
in  Doctor  at  Large. 

March   1957 






The  remarkable  increase  in  sales  of  Gevaert 
Sound  Films  for  variable  area  recording,  S.T.4 
and  S.T.6,  is  easy  to  understand.    Each  in  its 
class  is  outstandingly  good  and  will  give 
you  better  cancellation,  better  high  frequency 
response,  and  will  enable  you  to  work  at  lower 
lamp  currents. 

G  EVA  E  RT 


Gevasonor  magnetic  coatings  are  available 
on  5  thou,  base  in  16  mm.,  17.5  mm.  and  35  mm. 
widths  or  as  ^-inch  tape.    These  materials  are  of 
such  quality  that  for  some  scientific  applications 
where  freedom  from  dropouts  and  evenness  of 
coating  is  essential  no  other  tape  available 
will  fulfil  requirements. 

Full  Technical  Information  from  : 

GEVAERT   LIMITED,  Motion  Picture  Department, 

Acton  Lane,  Harlesden,  London,  N.W.10     ELGar  6755 




March   1957 


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Vol.  23  No.  148  PRICE  6d. 



April  1957 

Cut  your 
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Boulton  scaffolding  for  erection 
and  dismantling  of  sets  costs  less. 


Write  for  further  information  to 

Putney  Bridge  Road,  London,  S.W.I 8 

Telephone:  VANdyke  5889 

Booth  Street.  Birmingham  21 

Telephone:  Northern  2176 

April  1957 




THE>  new  Films  Bill  has  now 
passed  through  all  its  stages  in 
the  House  of  Commons  and  has 
become  Law. 

As  A.C.T.T.  forecast,  the  Govern- 
ment resisted  and  defeated  all 
amendments  designed  to  improve 
the  Bill  and  the  most  the  Labour 
opposition  extracted  from  the 
President  of  the  Board  of  Trade 
were  two  concessions. 

The  best  that  can  be  said  for  the 
Bill — or  rather,  now,  the  Act — is 
that  it  carries  forward,  for  the 
time  being,  the  functions  of  the 
National  Film  Finance  Corpora- 
tion, and  imposes  a  statutory  Eady 
Levy  in  place  of  the  present  un- 
satisfactory voluntary  system. 

The  positive  value  of  these  two 
sections  of  the  Act  is  that  inde- 
pendent producers  can  still  obtain 
financial  backing  from  the  Film 
Finance  Corporation  for  agreed 
projects,  and  British  producers  can 
be  assured  that  their  box-office 
returns  will  be  augmented  by  a 
Levy  which  will  produce  £3|  mil- 
lion pounds  in  the  first  year,  and 
anything  between  £2  million  and 
£5  million  in  subsequent  years. 

Against  these  helpful  features 
can  be  set  a  number  of  serious 
defects,  not  the  least  of  which  is 
the  clause  in  the  Act  providing  for 
the  sale  of  the  assets  of  the 
National  Film  Finance  Corpora- 

Despite  the  most  vigorous  fight 
put  up  by  Labour  M.P.s,  the 
Government  insisted  on  the  reten- 
tion of  this  clause,  and  the  only 
concession  made  was  an  amend- 
ment to  ensure  that  any  purchaser 
of  the  Corporation  must  be  and 
must  remain  a  British  company. 

Let  us  consider  for  a  moment 
the  iniquity  of  this  section  of  the 
Act  which  says  that  at  some  period 
the  assets  of  the  Corporation  can 
be  sold  to  a  company  which  satis- 
fies the  Board  of  Trade  that  it  is 
willing  and  able  to  make  adequate 
financial  facilities  available  to  per- 
sons who  wish  to  arrange  for  the 
production  or  distribution  of  cine- 
matograph films. 

In  effect  it  means  that  at  any 
time  during  the  next  ten  years,  the 
Government  can  decide  that  this 
publicly-owned  films  bank  shall  be 

sold  lock  stock  and  barrel  to  pri- 
vate enterprise. 

In  the  words  of  Mr.  John 
Rankin,  M.P.  :  "  Take  away  the 
Film  Finance  Corporation  and  we 
are  handing  over  the  industry  to 
the  great  monopolies." 

Mr.  Stephen  Swingler,  M.P.,  put 
it  even  more  forcefully.  "  It  seems 
to  me  ",  he  said,  "  that  this  is  all 
part  of  the  philosophy  of  saying 
that  we  should  socialise  only  the 
losses  and  should  always  privatise 
the  profits;  that  profits  should 
always  go  into  the  hands  of  the 
private  capitalist  and  only  losses 
should  be  borne  by  public  funds. 
Why  should  not  we  in  this  country 
have  a  publicly-owned  films  bank 
and  why  should  it  not  be  a  suc- 
cessful piece  of  public  enterprise?" 

And  what  was  the  Government's 
answer  to  that? 

Sir  David  Eccles,  President  of 
the  Board  of  Trade,  was  perfectly 
open  about  it.  "  The  Hon.  Mem- 
ber and  his  Hon.  Friends  believe 
in  the  Government  staying  in  busi- 
ness. We  on  this  side  do  not 
believe  in  it." 

Apart  from  the  fact  that  it  is 
not  the  Government  that  is  in  busi- 
ness, but  the  community  as  a 
whole,  the  implication  of  this  state- 
ment seems  clear.  It  is  the  inten- 
tion of  this  Government,  when  it 
thinks  it  can  get  away  with  it,  to 
sell  up  the  Film  Finance  Corpora- 
tion to  private  enterprise. 

As  other  Labour  Members 
pointed  out,  why  stop  at  the  films 
bank?  Why  not  sell  up  the  schools, 
or  even  hand  over  the  Army  and 
Navy  to  private  enterprise?  Why 
not  indeed?  The  Government 
would  really  then  be  out  of  busi- 
ness, in  more  senses  than  one ! 

As  members  who  were  at  the 
A.G.M.  will  know,  one  of  the  most 
serious  criticisms  we  had  to  make 
of  the  Bill  was  that  it  extended  the 
quota  provisions  for  another  ten 
years  without  change. 

As  a  result  of  our  protests,  com- 
bined with  those  of  others,  the 
Board  of  Trade  had  promised  con- 
sultations this  autumn  on  amend- 
ments to  the  quota,  but  without 
guarantee  of  Parliamentary  time 
and  new  legislation. 

Now  the  President  of  the  Board 

of  Trade  has  had  to  go  a  bit 
further,  and  announce  another  con- 
cession. He  said,  in  Committee : 
"  I  repeat  my  assurance  that 
when  we  have  finished  the  con- 
sultations with  the  industry  which 
are  necessary  to  carry  out  the  pro- 
visions of  the  Bill,  should  it  become 
law,  we  shall  go  straight  on  to  the 
discussion  of  quota  legislation. 
That  ought  to  give  us  a  fair 
amount  of  time  to  bring  in  legis- 
lation next  session  or  in  the  follow- 
ing one — but  I  cannot  commit  the 
Government  since  we  do  not  yet 
know  what  our  legislative  pro- 
gramme will  be." 

At  the  third  reading  he  tabled 
a  Government  amendment  the 
effect  of  which  is  to  carry  on  with 
the  present  quota  legislation  until 
1960  instead  of  1968  as  originally 

The  House  of  Commons  agreed 
to  this,  but  not  without  protest. 
Mr.  Stephen  Swingler  again 
pointed  out  that  despite  the  fact 
that  the  views  of  all  the  trade 
organisations  were  known  months 
ago,  the  Board  of  Trade  requires 
another  three  years  and  the  exist- 
ing system  with  all  its  faults  is  to 
be  prolonged  until  1960. 

The  ineptness  and  incompetence 
with  which  the  Government  has 
handled  the  whole  matter  is  clear 
for  all  to  see.  Admittedly  a  three 
year  wait  is  preferable  to  ten,  but 
three  years  is  far  too  long,  and 
A.C.T.T.,  at  least,  will  not  be  con- 
tent to  suffer  in  silence. 



Editorial  Office: 
2  SOHO  SQUARE,  W.l 

(GERrard  8506) 

Advertisement  Office: 
5  &  6  RED  LION  SQ.,  W.C.I 

(HOLborn  4972) 



April   1957 

A   Technician's  Notebook 


RECENTLY  I  was  invited  to 
look  at  a  very  interesting  modi- 
fication of  an  Arriflex  camera; 
nothing  less  than  the  fitting  of  a 
completely  new  gate  mechanism 
incorporating  a  double  claw  pull- 
down and  register  pins. 

it  is  the  outcome  of  enterprise 
and  initiative  on  the  part  of  the 
technicians  in  a  documentary  unit 
who  felt  that  there  was  a  need  for 
a  light  portable  camera  with  a 
standard  of  performance  generally 
associated  only  with  heavy  studio 
equipment.  They  were  fortunate  in 
having  as  enthusiastic  collaborator 
a  young  engineer  who,  convinced 
of  the  practicability  of  the  idea, 
set  to  work,  designed  and  produced 
the  gate  which  has  now  been  given 
the  name  P.F.P. 

The  P.F.P.  gate  has  all  the  ap- 
pearances of  being  built  to  good 
engineering  standards.  The  film  is 
pulled  down  by  double  claws, 
operated  by  two  cams  which  ensure 
that  the  claws  enter  and  with- 
draw from  the  perforations  at  right 
angles  to  the  direction  of  film 
travel.  The  two  register  pins  are 
also  driven  positively  by  a  cam,  and 
do  not  use  return  springs. 

Improved  Definition 

The  back  pressure  plate  is  also 
cam  operated  and  clamps  the  film 
in  the  focal  plane  during  exposure. 
I  was  assured  that  this  has  pro- 
duced a  considerable  improvement 
in  definition;  and,  because  the  back 
pressure  plate  is  retracted  while 
the  film  is  being  pulled  down  by 
the  claws,  one  of  the  main  causes 
of   negative   scratch    is   eliminated. 

The  Arriflex  camera  to  which 
the  gate  has  been  fitted  has  been 
in  use  on  a  production,  and  to  date 
about  20,000  feet  of  film  have  been 
shot,  with  entirely  satisfactory 
results  in  respect  of  steadiness  and 

As  proof  of  this  we  were  shown 
on  the  screen  shots  taken  at 
various  stages  of  the  production. 
Also  screened  were  double  exposure 
steady  tests  of  the  displaced  cross 
type,  and  split  screen  shots,  with 
both  horizontal  and  vertical  splits. 
They   were   an    impressive   demon- 

stration   of    the    accuracy    of    the 
registration  of  this  gate. 

As  one  might  expect  with  a 
movement  employing  a  moving 
back  pressure  plate  it  is  rather 
noisier  than  the  standard  Arriflex 


A.  E.  Jeakins 

gate,  but  it  was  stated  that  the 
gate  could  be  made  quieter  running 
by  changes  in  some  of  the  details 
of  its  construction. 

Because  of  the  fact  that  the 
pressure  plate  works  positively  by 
a  cam  and  is  not  spring  loaded 
some  adjustment  would  be  neces- 
sary to  accommodate  a  thicker 
film   stock   like   Eastmancolor. 

Another  feature  of  the  P.F.P. 
gate  worth  noting  is  that  though 
the  modification  was  carried  out 
on  a  Model  II  camera,  tests  have 
revealed  that  it  works  equally  well 
with  the  II. A  with  its  larger 
shutter  opening.  As  the  II  and 
II. A  shutter  mechanisms  are  inter- 
changeable, this  has  obvious 

The  cost?  It  is  estimated  this 
would  be  about  £300,  with  a  de- 
livery time  of  roughly  six  weeks. 
Anyone  interested  to  know  more 
about  the  P.F.P.  gate  should  get 
in  touch  with  Clifford  Cameras  and 
Equipments,  1  Soho  Square,  W.l. 


Cinemiracle,  the  newest  of  the 
super  wide-screen  systems,  uses 
three  cameras  in  one  photographic 
unit  and  three  projectors  inter- 
locked to  produce  a  picture  with  a 
horizontal  angle  of  146°  on  a  giant 
curved  screen.  Unlike  its  predeces- 
sor in  the  same  field,  Cinerama, 
only  one  projection  booth   is  used. 

According  to  an  article  in 
"American  Cinematographer "  by 
Joe  Henry,  on  which  these  notes  are 
based,  demonstration  screenings  in 

Hollywood  showed  perfect  blending 
of  the  three  sections  of  the  picture 
on  the  screen  with  no  "  jiggle " 
between  them. 

National  Theatres  are  behind 
this  new  process,  on  which  develop- 
ment was  begun  in  1952.  The 
Mitchell  Camera  Company  built 
the  camera  unit,  which  consists 
basically  of  three  cameras  mounted 
on  a  base  plate.  The  centre  camera 
shooting  straight  ahead  records 
the  central  panel  of  the  triptych, 
the  two  flanking  cameras  set  at  an 
angle  photograph  the  left  and  right 
hand  panels  through  mirrors. 

"The  American  Cinematographer" 
article  says  that  an  important 
feature  of  the  set-up,  responsible 
for  the  excellent  photographic 
results,  is  an  interlocked  electronic 
control  linked  with  the  Smith- 
Dietrich  lens  system,  but  does  not 
go  much  further  in  explaining 
what  this  system  is.  As  in  Cine- 
rama, a  six  sprocket  hole  film 
frame  is  used. 

Single  Booth 

As  mentioned  above,  the  three 
projectors  for  showing  the  Cine- 
miracle  pictures  are  housed  in  a 
single  booth.  The  centre  projector 
screens  the  centre  section  of  the 
picture,  and  the  left  and  right  hand 
panels  are  projected  by  machines 
set  at  right  angles  to  the  centre 
projector  and  projecting  through 
mirrors  which  are  adjustable  to  the 
fine  limits  necessary  to  produce 
the  illusion  of  a  single  panoramic 
picture  on  the  screen.  The  projec- 
tors are  fitted  with  8,000  ft.  spool 
boxes.  The  sound  track  is  on  a 
separate  magnetic  film  and  runs  in 
sync,  with  the  picture  on  equip- 
ment interlocked  with  the  projec- 

The  Cinemiracle  screen  used  in 
the  demonstration  measured  63  ft. 
by  26  ft.  with  a  maximum  curve 
of  13  ft.  at  the  centre;  covering  a 
field  of  vision  146°  wide  and  55° 

The  first  Cinemiracle  feature. 
Cinemiracle  Adventure,  is  in  course 
of  production.  The  story  is  con- 
cerned with  the  last  of  the  square- 

April  1957 



P.  F.  P.   Gate  Mechanism 

rigged  sailing  ships  and  involves 
shooting  in  many  parts  of  the 

"  In  Praise  of  the  French  " 

Brian  Stanford  begins  a  recent 
article  in  the  "  British  Journal  of 
Photography  "  called  "  In  Praise  of 
the  French  "  by  saying  that  in  the 
past  the  inventive  genius  of 
France  in  the  cinematographic  field 
has  not  received  a  proportionately 
deserved  financial  investment  by 
France  herself.  Other  countries 
have  benefited  financially  from 
many  of  the  inventions  originating 
in  France.  This  is  not  to  ignore 
the  international  reputation  of 
names  like  Debrie  and  Eclair.  But 
since  the  war  there  has  occurred 
"  a  sudden  explosion  of  inventive 
genius  .  .  .  coupled  to  intensive  and 
successful  native  commercial  ex- 

Dr.  Stanford,  who  is  writing 
mainly  about  16  mm.,  instances  the 
Cameflex  camera,  backed  by  the 
famous  name  of  Eclair,  with  its 
novel  gate  interchangeable  to  take 
16mm.  or  35mm.  stock,  and  its 
mirror  shutter,  as  the  first  intima- 
tion of  the  new  spirit  that  was 
rising  in  France. 

The  Cameflex  was  followed  a 
few  years  later  by  the  16mm. 
Pathe-Webo,  also  produced  by  a 
company  with  a  considerable  manu- 
facturing experience.  In  Dr.  Stan- 
ford's view  it  is  the  serious   ama- 

teur's best  value  at  present;  light, 
but  nevertheless  robust,  it  provides 
continuous  viewing  through  the 
taking  lens  while  shooting,  by 
means  of  a  pellicle,  inserted  behind 
the  lens  and  in  front  of  the  shutter, 
which  reflects  about  lO^r  of  the 
light  through  the  focusing  tele- 
scope. This  gives  a  bright  enough 
image  for  focusing,  and  the  loss  of 
light  is  negligible  as  far  as  ex- 
posure is  concerned.  A  variable 
shutter  and  film  wind-back  allow 
fades  and  mixes  to  be  made. 

The  8mm.  Camex  tackles  the 
continuous  viewing  problem  in  yet 
another  way.  The  shutter  works 
like  a  reciprocating  guillotine;  a 
prism  attached  to  it  deflects  the 
image  formed  by  the  lens  through 
the  viewfinder  when  the  shutter  is 
in  the  closed  position. 

Brilliant  Computations 

In  the  matter  of  lenses  for  cine- 
cameras the  French  have  done  even 
better  with  some  brilliant  new 
computations.  Pierre  Angenieux  is 
quoted  as  the  outstanding  example. 
Research  during  the  occupation 
period  led  him  to  develop  the 
theory  of  his  Retrofocus  lens, 
which  is  based  on  the  principle  of 
the  reverse  telephoto  in  which  the 
length  of  the  mount  is  longer  than 
the  effective  focal  length.  As  is 
well  known,  the  advantage  of  such 
a  system  is  that  the  distance  be- 

tween the  back  glass  and  the  film 
plane  is  so  much  greater  than  in 
a  conventional  lens,  that  it  is  pos- 
sible to  use  shorter  focal  length 
lenses  with  mirror  shutter  cameras 
than  would  otherwise   be   possible. 

The  Retrofocus  computation 
makes  possible  far  greater  back- 
focus  lengths  than  do  orthodox 
reverse  telephoto  formulae,  and  it 
is  at  the  same  time  so  flexible  that 
wide  angle  lenses  of  astonishing 
aperture  can  be  made;  an  example 
is  the  10mm.  f/1.8  for  16mm. 
cameras.  Angenieux  has  also  pro- 
duced a  25mm.  lens — also  for 
16mm. — with  an  aperture  of  f/0.95! 

(Another  lens  in  the  Retrofocus 
range,  the  18.5mm.  for  35mm. 
cameras,  is  widely  known  in  this 
country. — Ed.) 

Bell-Howell   to  Distribute 

Bell-Howell  of  America  have 
acquired  the  world  distribution 
rights  of  these  lenses  and  have  re- 
designed some  of  their  cameras  to 
accommodate  them.  Promised  for 
the  future  are  a  15mm.  f/1.3,  a 
50mm.  f/0.95  and  a  compact  zoom 
of  new  computation. 

In  connection  with  zoom  lenses, 
the  name  of  another  famous  French 
optical  manufacturer  comes  to 
mind — Som-Berthiot.  Their  first 
zoom  lens,  which  had  a  range  of 
20mm.  to  60mm.  with  an  aperture 
of  f/2.7  over  the  full  range,  was 
deservedly  successful.  The  experi- 
ence gained  led  to  the  design  of  a 
new  model  with  a  range  of  17-68 
mm.  with  the  impressive  aperture 
of  f/2.2. 

New  16mm.  Series 

Som-Berthiot,  who  can  look  back 
on  100  years  of  existence,  made 
their  entry  into  the  16mm.  field  in 
1932  with  an  f/1.5  lens.  They  are 
now  on  the  point  of  putting  a  new 
range  of  16mm.  lenses  on  the 
market,  starting  with  a  25mm. 
f/1.4,  a  10mm.  f/1.9  and  a  75mm. 
f/2.5.  These  will  be  followed  later 
by  a  25mm.  f/0.95,  a  100mm.  f/3.5 
and  a  145mm.  f/4.5. 

Kinoptik,  founded  by  M.  Grosset 
in  1932,  is  another  famous  lens- 
making  firm  which  originally  made 
lenses  exclusively  for  the  35mm. 
market,  but  have  recently  intro- 
duced lenses  for  16mm.  professional 

The  Kinoptik  range  of  lenses  is 
held  in  the  same  esteem  in  pro- 
fessional circles,  Dr.  Stanford  says, 
as  are  our  Taylor-Hobson  Cookes, 
and  are  recommended  equipment 
for  the  Eclair  Cameflex. 



April  1957 



Bouquet  to  Simon  Brooks,  sur- 
veyor of  TV  in  the  "  Daily  Film 
Renter  ",  for  plugging  a  new  devel- 
opment in  press  previewing  tele- 
films on  the  same  lines  as  cinema 
pictures.  He  points  out  how  absurd 
it  is  for  critics  only  to  see  these 
recorded  television  programmes 
when  the  public  does;  it  is  like  a 
film  critic  having  to  wait  till  after 
the  general  release  before  he  can 
tell  his  readers  about  the  film. 

If  the  BBC  and  the  programme 
contractors  do  adopt  this  useful 
step,  which  Simon  Brooks  regards 
as  "  inevitable  "  in  the  progress  of 
TV  in  Great  Britain,  care  will  need 
to  be  taken  that  the  critics  do  not 
become  unofficial  appendages  of 
the  publicity  departments  and  fan 
clubs.  That  kind  of  "  criticism  ", 
with  its  lack  of  independence  of 
thought,  really  does  not  do  the 
trade  much  good  in  the  long  run. 

Equally,  TV  film  reviewers 
should  not  ape  those  clever-clever 
critics  who  rarely  lose  an  oppor- 
tunity to  work  in  a  sarcastic  sneer; 
the  most  important  quality  a  critic 
needs  is  a  love  of  the  medium  he 
has  under  his  inspection.  That  way 
even  the  fiercest  criticism  will  be 
constructive.  Few  critics  in  Bri, 
tain,  compared  with  America, 
France  or  Italy,  measure  up  to  this 
criterion  as  well  as  being  indepen- 

Teenage  Problem 

Leading  figures  in  the  film  trade 
still  repeat  that  our  policy  is  to 
aim  principally  at  the  teen-age  per- 
sonality. A  man  who  profoundly 
disagrees  is  Adrian  Brunei,  who 
tells  me  this  is  not  sound  business, 
for  by  appealing  mainly  to  teen- 
agers we  are  limiting  our  target  to 
less  than  ten  per  cent  of  the 

He  reached  this  conclusion  by 
the  simple  process  of  looking  up 
the  official  census  figures  published 
earlier  this  year.  According  to  the 
latest  analysis  of  the  1951  Census. 
72%  of  the  inhabitants  of  the 
United  Kingdom  were  over  teen- 
age, and  this  figure  shows  an  in- 
crease over  that  of  the  previous 
Census  of  1931,  so  illustrating  that 
the  expectation  of  life  is  now 

Adrian  Brunei  urges  film  and  TV 
producers  to  remember  these 
statistics  and  to  appeal  more  to 
adult  audiences.  Particularly  im- 
portant is  it,  he  says,  for  the 
cinemas,  who  find  regular  patron- 
age dropping  off  as  boys  and  girls 
progress  through  the  twenties,  pos- 
sibly because  they  are  assuming 
household  responsibilities,  and  pos- 
sibly because  many  of  them  have 
grown  bored  with  the  fare  that 
consists  so  much  of  a  repetition  of 




films  of  war,  violence  and  murder. 
As  Mrs.  Eirene  White,  M.P.,  said 
recently  in  the  House  of  Commons, 
"  Cinemas  cannot  live  on  courting 
couples  alone." 

I  would  add  that  British  film 
producers  must  wake  up  to  the 
fact  that  a  number  of  Hollywood 
film-makers  are  now  tailoring  their 
pictures  to  a  more  mature  audience 
— because  it  pays.  If  you  doubt 
this,  do  as  I  did,  and  go  on  a  diet 
of  American  pictures  for  a  few 
weeks.  I  guarantee  it  will  cure 
you  of  any  complacency  about 
British  pictures.  Hollywood  is 
backing  its  new  pictures  with  a 
special  publicity  appeal  to  the  more 
adult  sections  of  the  population,  as 
is  seen  in  the  advertisement  by 
Universal  -  International  for  The 
Great  Man.  "  If  you  rarely  go  to 
the  pictures,"  reads  the  advertise- 
ment, "  then  one  of  your  rare  visits 
is  now,  to  see  The  Great  Man." 

But  lift  up  your  heads  again, 
British  technicians,  for  "The  Times" 
and  the  "Daily  Worker"  agree!  Of 
The  Hunchback  of  Notre  Dame  the 
anonymous  critic  in  "The  Times" 
said,  ".  .  .  the  acting  is  poor  and 
is  made  to  seem  even  poorer  by 
the  dubbing ",  and  Robert  Ken- 
nedy in  the  "Worker"  wrote, 
"  atrociously  dubbed;  the  acting  is 
amateurish."  This  latest  version  of 
the  Victor  Hugo  classic  was  made 

in  France,  where  some  of  the 
voices  were  post-synched  into 
English.  These  and  other  press 
comments  add  point  to  A.C.T.T.'s 
policy  that  foreign  language  dub- 
bing into  English  should  be  done 
in  this  country.  We  have  proved 
we  have  first  class  facilities  here, 
and  it  stands  to  reason  that  English 
people  know  the  intricacies  of  the 
English  tongue  better  than  anyone 

Automation  was  the  subject  of 
a  lecture-film  show,  which  the 
Scientific  Film  Association  has 
beensponsoring,  and  very  revealing 
it  has  been,  too.  The  speaker. 
S.  B.  Bailey,  of  the  Intelligence 
Division  of  the  Government's  De- 
partment of  Scientific  &  Industrial 
Research,  pooh-hooed  the  idea  that 
workers  had  anything  to  fear  from 
automation,  but  significantly  said 
that  one  of  the  main  uses  of  auto- 
mation films  was  to  enable  factory 
personnel  departments  to  sell  the 
idea  to  the  workers.  As  an  ex- 
ample of  this  kind  of  propaganda 
film  he  showed  Technique  for  To- 
morrow, made  by  the  Ford  Motor 
Company  of  America;  this  docu- 
mentary was  well  made,  but  I 
doubt  if  it  would  fool  many  British 

Chance  for  Unions 

It  was  clear,  however,  that  in- 
dustrialists are  going  to  put  over 
a  lot  of  stuff  about  how  automation 
will  produce  more  goods  for  the 
nation;  but  they  will  soft-pedal  the 
fact  that  they  want  this  done  with 
fewer  workers  and  they  will  ignore 
altogether  the  fact  that  automation 
will  help  the  industrialists  make 
still  bigger  profits.  Here  is  a 
chance  for  the  Unions,  in  particu- 
lar those  in  engineering  trades,  to 
become  the  sponsors  of  documen- 
taries and  show  automation  to  be 
a  means  of  great  social  advance 
when  in  l>i<  hands  of  the  workers. 
This  question  of  the  Labour  and 
Trade  Union  movement  sponsoring 
more  films  keeps  coming  up  at  the 
Shorts  &  Documentary  Section,  and 
it  is  about  time  that  the  Unions 
realised  that  films  can  put  over  a 
case  far  more  graphically  than 
any  other  medium  of  expression. 

April  1957 




ON  the  morning  of  Saturday, 
April  6th,  there  was  held,  in 
the  York  Hall,  Caxton  Hall,  West- 
minster, the  inaugural  meeting  of 
the  Television  Branch  of  A.C.T.T. 
The  purpose  of  the  meeting  was 
to  elect  officers  and  to  discuss  the 
new  draft  agreement  between  the 
Association  and  the  TV  Pro- 
gramme Contractors. 

In  view  of  the  fact  that  there 
had  already  been  a  meeting  of  the 
Manchester  members  to  pass  this 
draft  and  these  were,  therefore, 
not  present,  and  in  view  of  the  fact 
that  very  many  members  were  on 
duty,  the  meeting  was  exception- 
ally large.  Well  over  a  hundred 
members  were  present. 

Ralph  Bond  took  the  chair.  On 
the  platform  with  him  were  Bert 
Craik,  the  Acting  General  Secre- 
tary, and  four  members  of  the 
negotiating  committee  -  -  Vice- 
Presidents  Max  Anderson  and 
Charlie  Wheeler,  the  TV  Vice-Pre- 
sident Desmond  Davis  and  one  of 
the  TV  General  Council  members, 
Tony  Shine.  Also  on  the  platform 
was  the  President,  Anthony 

The  President,  in  his  opening 
address,  welcomed  the  formation 
of  the  TV  branch.  He  recalled  how, 
twenty-three  years  ago,  the  then 
newly-formed  ACT  was  regarded 
by  the  tycoons  in  Wardour  Street 
as  a  bunch  of  trouble  makers  and 

pointed  out  that  almost  every  re- 
former in  history  has  started  out 
with  the  stigma  of  "  trouble 
maker  ",  in  fact  it  is  very  nearly 
an  essential  visa  on  the  passport  to 
Westminster  Abbey. 

The  President  congratulated  the 
newly-formed  branch  on  its  birth 
and  only  regretted  the  absence 
through  illness  of  the  chief  mid- 
wife, the  General  Secretary. 

Officers  of  the  branch  were  then 
elected.  They  were  as  follows: 
Chairman — Desmond  Davis.  Vice- 
Chairman — Tony  Shine.  Secre- 
tary— Ivan  Ager.  Publicity  Officer 
— Graham  Turner. 

The  meeting  then  moved  on  to 
discuss  the  main  business  of  the 
day,  the  draft  agreement. 

Draft   Agreement   Approved 

This  discussion  was  full  and 
lively  and  many  most  interesting 
comments  and  suggestions  were 
made  and  duly  noted  for  action 
by  the  negotiating  committee. 
Several  extremely  useful  and  con- 
structive points  were  raised  by 
members  and  a  small  number  of 
amendments  were  voted  upon. 

It  is  particularly  interesting  to 
note  that  the  very  first  amendment 
that  was  voted  on  and  passed,  and 
much  of  the  discussion  was  aimed 
at  ensuring  smoother  running  and 
more    efficient   organisation    in   the 

television  industry  and  it  was 
strongly  felt  by  many  of  those 
present  that  this  was  a  gathering 
of  people  who  were  there  not 
merely  to  grab  what  they  could 
get  but  who  wished,  in  a  respon- 
sible manner,  to  contribute  to  the 
prosperity  and  efficiency  of  the  in- 
dustry in  which  they  worked  and 
to  stake  a  reasoned  claim  in  a 
share  of  that  prosperity. 

After  some  two  hours'  discussion, 
it  was  moved  that  the  meeting 
should  authorise  the  negotiating 
committee  to  go  ahead  on  the  basis 
of  the  draft.  This  was  voted  upon 
and  carried  unanimously. 

Desmond  Davis,  the  TV  Vice- 
President,  then  rose  to  thank  the 
members  for  their  attendance. 
After  emphasising  very  strongly 
the  need  for  missionary  zeal  in 
recruiting,  he  warmly  thanked  the 
film  members  of  the  negotiating 
committee,  Charlie  Wheeler  and 
Max  Anderson  for  their  hard  work 
and  skilful  help  in  framing  the 
draft  agreement,  Bert  Craik  and 
Paddy  Leech  for  their  gargantuan 
labours  and  Ralph  Bond  for  chair- 
ing the  meeting. 

The  meeting  ended  on  a  most 
stimulating  note  when  Len  Runkle, 
on  behalf  of  the  Labs  Committee, 
pledged  the  fullest,  unquestioning 
support  of  the  Laboratory  mem- 
bers to  their  Television  brothers  in 
their  impending  negotiations. 

THE  Annual  General  Meeting  of 
J-  the  Television  Producer/Direc- 
tors' Section  was  held  on  April  4th. 
Officers  for  the  coming  year  were 
elected  as  follows:  Chairman, 
Leonard  Brett;  Vice-Chairman, 
Andrew  Millar- Jones;  General 
Council  representative,  Robert 
Barr.  It  was  decided  to  elect  four 
deputies  for  the  General  Council 
representative  to  enable  other 
members  of  the  section  to  gain 
experience  in  the  work  of  the 
General  Council.  The  four  elected 
were:  John  Warrington,  Vivian 
Milroy,  John  Fitzgerald,  and  Cecil 

Robert  Barr  reported  for  the 
newly-formed  advertising  sub- 
committee which  had  been  actively 
engaged  in  stimulating  interest 
among  members  engaged  in  adver- 

Some  unrest  was  evinced  at  the 

TV  Producer  J  Directors9  Section 

present  policy  of  granting  A.C.T.T. 
membership  irrespective  of  qualifi- 
cations or  experience  but  after  dis- 
cussion it  was  realised  that  until 
such  time  as  the  Union  has  a 
majority  power  within  television  it 
was  more  important  to  build  up 
membership  figures. 

The  first  of  the  Bulletins  on  tele- 
vision demanded  by  the  union 
A.G.M.  has  already  been  circulated. 
The  section  secretary,  Paddy 
Leech,  was  complimented  on  the 
speed  and  efficiency  with  which  the 
bulletin  had  been  got  out. 

With  the  enormous  increase  in 
television  members  and  with  the 
contractors'  agreement  about  to 
enter  its  final  stage  the  Television 

Producer/Directors'  section  are 
looking  forward  to  an  interesting 
and  vitally  important  year. 



16mm.  BELL  HOWELL  70DL  with 
1  inch  f/1.9  YVAR  and  16mm. 
f/2.8  COOKE— IN  CASE.  EEL 

METER.  SUNDRY  2in.  and  3in. 
HILL,  N.W.8. 



April   1957 

The  Case  for  Co-productions 

W/HEN  the  Annual  General 
"  Meeting  of  A.C.T.T.  unani- 
mously voted  in  favour  of  explor- 
ing ways  and  means  for  the 
setting  up  of  co-productions  on  the 
European  pattern,  a  decision  had 
been  taken  which  can  result  in  a 
very  substantial  increase  of  film 
production  in  this  country,  pro- 
vided it  is  pursued  vigorously 
by  our  General  Council,  pro- 
tected with  the  proper  safeguards 
by  the  Board  of  Trade  and 
launched  with  skill  and  determina- 
tion by  our  producers. 

Trade  follows  the  film.  We  all 
know  the  slogan.  Hollywood  has 
proved  its  validity  over  the  years. 
The  Government  tell  us  that 
Britain  is  about  to  enter  the  Euro- 

and,  last  but  not  least,  in  order  for 
this  country  to  work  in  partner- 
ship as  an  equal  with  other 
nations,  perhaps  even  as  primus 
inter  pares  and  not  as  the  poor 


Charles  Frank 

Time  and  again  in  recent  months 
we  have  witnessed  the  fantastic 
spectacle  where  some  of  the  big- 
gest productions  (financed  with 
frozen     money,     every     penny     of 

A  Recent  Example  of  International  Co-production 

pean  Common  Market  and  its  Free 
Trade  Area.  This,  then,  would 
appear  to  be  the  ideal  moment  for 
British  Film  Production  to  join 
hands  with  our  colleagues  on  the 
Continent,  in  order  to  make  the 
kind  of  pictures  which  we  should 
otherwise  never  make,  in  order  to 
make  more  pictures  than  would 
normally  be  made  in  this  country. 

which  had  been  paid  by  the  people 
of  this  country)  had  an  American 
producer,  an  American  director,  an 
American  script  and  one  or  more 
American  stars;  and  each  of  these 
films  was  given  British  Quota,  and 
all  of  them  are  eligible  for  money 
from  the  Eady  fund,  a  fund 
specially  created  to  help  British 
producers  in  their  struggle  against 

overwhelming   odds! 

Maybe  I  should  mention  here 
that  I  have  no  intention  of  attack- 
ing Hollywood.  The  Americans 
make  pictures  of  world-wide 
appeal.  In  production,  distribution 
and  exhibition  they  believe  them- 
selves to  be  champions,  and  they 
defend  their  title  with  the  same 
stamina  and  enthusiasm  for  the 
rules  of  the  game  as  did  Rocky 
Marciano  in  his  fight  against  Don 
Cockell.  I  do  not  blame  Hollywood 
for  going  all  out  for  their  pictures. 
I  blame  us  for  failing  to  look  after 

What,  you  may  ask,  has  all  this 
got  to  do  with  co-productions  ?  I 
will  tell  you. 

The  advent  of  Cinemascope, 
VistaVision  and  the  like  has 
brought  in  its  wake  the  trend 
towards  bigger  films.  The  longer 
and  costlier  they  get,  the  smaller 
is  the  number  of  films  actually 
being  made. 

The  Basic  Pattern 

On  the  Continent  of  Europe,  the 
leading  film  producing  nations 
have  got  together.  Their  respec- 
tive Trade  Ministries  have  worked 
out  a  formula  which  brought  into 
being  the  so-called  twin-produc- 
tions, jointly  financed  and  pro- 
duced by  two  nations  under  certain 
rules  mutually  agreed  upon  by  the 
industries  and  Trade  Ministries  of 
both  countries  with  the  one  tre- 
mendous advantage  that  the 
pictures  thus  created  by  both 
countries  should  be  eligible  for 
quota  in  both  countries.  To  illus- 
trate the  procedure,  here,  very 
briefly,  is  the  basic  pattern  of  the 
co-production  Agreement  between 
France  and  Italy: 

1.  A  French  and  mi  Italian  pro- 
duction company  agree  to 
make  two  films,  one  in  France 
and  the  other  in  Italy.  In  Pic- 
ture  'A'  the  studio  work  is 
done  in  France,  in  Picture  'B' 
in  Italy. 

2.  Each  company  provides  one 
French  and  one  Italian  Pro- 
ducer to  work  on  both  pictures. 
In  Picture  'A'  the  Director  is 
Fnnch.  in  Picture  'B'  the 
Director  is  Italian.  Key  per- 
sonnel on  both  films  are  ap- 
pointed and  shared   by   mutual 

April  1957 



agreement  on  a  50/50  basis. 

3.  Production  costs  are  shared  on 
either  a  50/50  or  a  60/1,0  or  a 
70/30  ba^is,  the  proportion  to 
be  reversed  in  Picture  'B'.  The 
French  Producer  retains  the 
whole  of  the  French-speaking 
territories,  the  Italian  the 
whole  of  the  Italian-speaking 
territories;  the  rest  of  the 
world  is  divided  on  the  basis  of 
each  producer's  financial  con- 

4.  In  both  pictures,  one  of  the 
two  stars  is  French,  the  other 

TRIES and  are  eligible  for 
whatever  production  fund 
benefits  (Eady  money,  VAide 
du  Cinema,  etc.)  exist  in  the 
respective  countries. 

France  has  co-production  agree- 
ments with  Italy,  Germany,  Aus- 
tria, Spain,  Mexico,  Argentina  and 
Japan.  The  average  production 
cost  of  a  purely  French  top  feature 
is  estimated  at  about  £80,000, 
whereas  the  average  production 
cost  of  a  co-production  top  feature 
works  out  at  about  £182,000.  It  is 
evident,  therefore,  that  most  of 
these  co-productions  could  never 
have  been  made  but  for  the  inter- 
European  agreements. 

It  is  equally  clear  that  these  co- 
productions  did  not  only  not  cut 
down  on  domestic  production  but 
were  in  fact  instrumental  in  in- 
creasing production,  and  thereby 
employment  in  the  industries  of 
the   countries  concerned. 

In  this  connection  (a  point  of 
particular  interest  to  all  A.C.T.T. 
members)  it  is  necessary  to  have  a 
look  at  production  figures  in 
France  over  the  last  five  years 
when  co-productions  began  to  get 
into  their  stride,  and  compare 
them  to  the  corresponding  figures 
in  this  country.  The  French  pro- 
duction figures  were  given  me  by 
Unifrance  Film,  the  British  figures 
by  the  British  Film  Producers' 
Association.  Owing  to  the  single 
feature  programme  operated  in 
France  and  most  other  European 
countries,  the  average  length  of  a 
top  French  feature  is  about 
9,000  feet,  whereas  the  figures 
quoted  by  the  B.F.P.A.  include  all 
films  from  6,000  feet  upwards. 

Co-productions,  the  figures  in 
the  table  below  appear  to  suggest, 
mean  an  increase  of  production 
and  improvement  of  the  employ- 
ment situation.  But  this  will  only 
apply  to  this  country  if  we  manage 
to  evolve  the  right  formula.  Only 
if  genuine  British  finance  and 
genuine  European  finance  are 
allowed  to  be  used  for  these  twin- 
productions,  and  only  if  the  Board 
of  Trade  or  a  body  appointed  by  it, 
acts  as  controller  before  granting 
quota,  can  the  scheme  be  made  to 

American  stars  have  commanded 
the  British  Army,  Navy  and  Air 
Force  in  order,  we  were  told,  to 
conquer  the  American  market — 
just  as  incongruous  perhaps  and 
just  as  rewarding,  but  hardly  for 
the  British  Producer. 

Genuine  co-productions,  how- 
ever, will  carry  the  British  way  of 
life  into  the  heart  of  the  continent 
of  Europe.  Because  of  the  double 
quota,  our  co-productions  will  get 
the  same  showing  as  any  French 
picture  in  France  and  any  Italian 

A   British-Italian   Film 

work  here.  Without  this  safe- 
guard, production  could  be  reduced 
rather  than  expanded. 

Still,  if  the  producers  of  the 
other  European  nations  were  able 
to  protect  their  own  vital  interests, 
then  surely  our  own  organisations 
should  contrive  to  do  the  same. 

But  there  is  more  to  this  co- 
production  idea  than  greater  out- 
put and  employment.  It  is  a  two- 
way  traffic  of  ideas  and  ways  of 
life.  Occasionally,  it  may  be  mis- 
used. British-European  co-produc- 
tions may  cast  Gina  Lollobrigida  as 
a  Highland  lassie  or  Anna  Neagle 
as  Mistinguette.  The  results  may 
be  incongruous  yet  highly  reward- 
ing. But  I  seem  to  remember 
that    in    the    not    so    distant    past 




French  Co- 
































picture  in  Italy.  The  names  of 
our  sta^s  will  become  household 
words  in  Europe  as  much  as  they 
already  are  in  this  country.  And 
we  shall  get  a  glimpse  into  the 
way  of  life  of  the  other  European 
nations.  We  shall  realise  that 
basically  we  all  have  the  same 
problems  and  look  for  the  same 
things  in  life:  how  to  live  decently 
side  by  side  with  fair  shares  for  all. 

Co-productions  can  forge  a  link, 
an  important  link,  between  Britain 
and  the  Commonwealth  on  the  one 
hand  and  the  continent  of  Europe 
on  the  other.  That  alone  should  be 
a  good  enough  reason  to  call  them 
into  life. 

Ivor  Montagu 

We  regret  that  Ivor  Montagu's 
name  was  inadvertently  omitted 
from  the  list  of  members  elected 
to  the  General  Council  by  A.G.M. 
published  in  the  March  issue  of 
the  Journal. 



April   1957 

Book  Review 


TRADE      UNION      LAW,      by     H. 

Samuels.      5th    Edition — Stevens 

Mr.  H.  Samuels  is  a  barrister 
well  known  to  members  of  A.C.T.T. 
for  the  cases  he  has  conducted  on 
its  behalf  and  the  other  legal 
assistance  he  has  given  to  it. 
Members  of  the  Union  will,  there- 
fore, be  interested  to  know  that 
the  fifth  edition  of  his  book  on 
Trade  Union  Law  has  been  pub- 
lished. Five  editions  in  ten  years 
shows  that  the  book  has  been 
found  generally  helpful  to  the 
trade  union  movement,  and  there 
is  not  much  in  print  which  sets  out 
trade  union  law  so  simply  and 

There  are  few  areas  of  law 
which  so  much  need  rationalisa- 
tion. Trade  Union  law  is  still 
based  on  the  old  common  law 
which  held  that  trade  unions  were 
illegal  because  they  are  in  restraint 
of  trade.  It  would  surely  be  sen- 
sible now  to  replace  this  with  a 
modern  code. 

A  writer  in  The  Modern  Law 
Review  recently  suggested  that, 
in  addition  to  the  removal  of  this 
common  law  stigma,  consideration 
should  be  given  to  universal  regis- 
tration of  trade  unions,  the  render- 
ing enforcible  of  all  contracts  with 

and  within  a  union,  a  modification 
of  the  absolute  immunity  from 
being  sued  for  wrongs,  such  as 
negligence,  and  provision  for  mem- 
bers to  sue  on  collective  agree- 
ments made  for  their  benefit. 

Trade  unions  have  a  long  history 
of  conflict  with  the  law  which 
tends  to  make  them  suspicious  of 
law  and  sometimes  also  of  lawyers. 
This  was  very  natural  in  days  gone 
by  but  such  an  attitude  should  now 
be  regarded  as  old  fashioned. 
Trade  Unions  are  some  of  the  most 
powerful  bodies  in  the  state  and  it 
would  perhaps  be  unnecessary  for 
them  to  view  with  hostility  any 
proposal  for  rationalising  trade 
union  law. 

However  this  may  be,  there  are 
many  cases  which  come  before  the 
courts  which  concern  unions.  Mr. 
Samuel's  book  is  not  a  substitute 
for  legal  advice,  but  it  is  very  de- 
sirable for  those  who  are  dealing 
with  union  affairs  to  have  an  out- 
line knowledge  of  trade  union  law. 
This  is  what  Mr.  Samuels  provides. 

In  the  next  edition  he  might  use- 
fully substitute  a  set  of  model 
rules  for  the  first  appendix  on  the 
1946  Act  which  is  now  no  longer 
necessary.  This  edition  should 
have  a  wide  circulation. 

Robert  S.  W.  Pollard. 

Film-Making   in   Hungary 


Six  months  have  passed  since 
the  beginning  of  the  insurrection 
in  Hungary,  and  conditions  are 
now  improving  again.  Budapest 
cinemas  reopened  very  soon  after 
the  fighting  stopped,  and  the  pro- 
ductions that  were  held  up  by  the 
October  events  are  being  com- 
pleted in  the  Hungarian  studios, 
and  some  of  them  are  already  be- 
ginning to  entertain  the  film- 
hungry  citizens  of  Budapest. 

Like  us,  the  Hungarians  are 
great  filmgoers — you  have  to  book 
ahead  to  be  certain  of  a  seat  in 
Budapest,  despite  the  number  of 
cinemas-  but  they  see  a  far  richer 
variety  of  pictures  from  all  corners 

of  the  globe  than  we  are  privileged 
to  enjoy. 

When  I  was  there  last  Summer, 
I  heard  a  lot  of  praise  for  such 
British  comedies  as  Genevieve  and 
Laughter  in  Paradise,  as  well  as 
the  more  sophisticated  humour  of 
Anthony  Asquith's  The  Importanci 
of  Being  Ernest.  Among  the  latest 
Hungarian  productions  are  a  num- 
ber of  home-made  comedies — two 
of  them  with  a  football  background, 
one  of  which  I  saw  being  filmed  at 
the  mammoth  People's  Stadium  in 

Our  cover  still  this  month  is 
from  The  Football  Star,  and  shows 
Laszlo    Ungvary   playing    the    part 

of  the  would-be  dictator  of  the 
imaginary  State  of  Footballia, 
where  the  position  of  the  Govern- 
ment depends  on  whether  the 
national  soccer  team  wins  the 
international  championship.  The 
Council  of  Ministers  agrees  to  buy 
the  best  player  from  the  Hun- 
garian team  at  any  price,  but  the 
Admiral  entrusted  with  this 
mission  buys  the  wrong  man — an 
error  which  is  only  discovered  just 
before  the  decisive  match!  Ferenc 
Puskas,  Sandor  Kocsis  and  the 
other  members  of  the  Hungarian 
national  football  team  are  guest 
artists  in  the  picture. 

Fortune  Smiles 
The  other  soccer  comedy,  A  Tale 
of  Twelve  Points,  is  about  four 
people  who  join  together  to  form 
a  syndicate  to  enter  for  the  State 
football  pool;  fortune  smiles  on 
them  and  they  get  the  winning 
twelve  forecasts — but  next  day 
they  learn  with  disappointment 
that  so  many  others  won  that  week 
that  each  one's  share  is  quite  in- 

These  two  comedies,  which 
sound  as  if  they  would  be  very 
popular  over  here,  show  part  of  the 
trend  in  Hungarian  pictures  re- 
cently (and  more  especially  since 
the  coming  of  the  new  govern- 
ment), for  more  warmth  and 
humanity  in  the  subjects  produced 
and  in  their  treatment. 

Separate  Union 

There  are  virtually  no  film 
actors  and  actresses  who  work 
only  for  films,  as  they  all  also  get 
engagements  on  the  stage  and  on 
the  radio.  It  is  generally  held 
that  the  best  film  artistes  are  the 
stars  of  the  stage  classics,  amongst 
which  Shakespeare  and  Moliere  are 
very  popular. 

Trade  Union  organisation  is  now 
on  a  different  basis,  as  all  film 
workers  are  in  a  separate  Union 
from  other  entertainment  workers 
— until  a  little  while  before  the 
October  events  they  were  all  in  the 
same  Union. 



A.C.T.T.   Badges  and   Brooches 

can    be    obtained    from    Head 


BADGES  -        2/- 

BROOCHES      -       2/4 

post  free 


April  1957 


Every  film  maker  and  technician, 
whatever  his  grade,  who  takes 
cinema  seriously,  should  subscribe 
to,  borrow,  or  steal  the  new  Ameri- 
can film  magazine  Film  Culture. 

Its  claim  and  desire  is  to  ad- 
vance the  study  "  of  a  more  pro- 
found understanding  of  the  func- 
tion and  aesthetics  of  Cinema  ". 

The  first  few  numbers  contain 
articles  like  "  For  a  Universal 
Cinema"  by  Orson  Welles  (about 
censorship  and  stupid  customs 
rules),  articles  by  Joris  Ivens,  Hans 
Richter,  two  Synopses  by  Stroheim 
and  reviews  of  world  productions. 

In  particular  there  is  a  splendid 
contribution  by  George  Fenin  on 
•'  Motion  Pictures  and  the  Public," 
showing  how  desperate  Hollywood 
is  becoming  with  new  public  tastes 
and  demands  both  at  home  and 
abroad.  He  thinks  Hollywood  is 
becoming  "  a  spiritual  desert  in 
glorious  technicolor  ". 


"  The  enigma  of  film  making  is 
that  it  is  at  once  a  dictatorship  and 
a  democracy — the  dictatorship  of 
the  creator  who  makes  absolute  his 
conception  of  how  the  script  should 
be  transferred  to  the  screen;  and 
the  democracy  of  scores  of  highly- 
skilled  technicians,  who  must  work 
as  a  team,  pooling  their  knowledge 
and  experience,  to  make  that 
transition  from  the  script." — Billy 
Wilder  in  "  Films  and  Filming  ". 

Financed  by  Church 

The  powerful  Presbyterian 
Church  in  America,  according  to 
Dr.  Ch.  Leber  in  the  "  Kine  ",  has 
put  up  half  a  million  dollars  for  an 
Eastmancolor  Superscope  feature 
titled  Accused. 

Why  has  the  church  gone  in  for 
financing  features? 

"We  wanted  to  make  an  impact, 
and  commercial  cinema  is  still  the 
most  opinion-forming  medium  in 
the  world,"  says  Dr.  Leber. 

The  church  is  not  asking  to  be 
associated  with  the  film.  It  is  being 
made  by  Film  Productions  Inter- 
national,   a    Hollywood    company. 

"  This  picture  doesn't  preach 
anything,"  he  explains.  "  The  fact 
is  the  church  has  a  story  to  tell, 
which  it  believes  must  be  told.  It 
deals  with  the  problems  of  racial 
equality  and  the  rights  of  self- 
determination  ".    Well,  whether  he 




Congratulations  to   Ken   Danvers  who   has  once  again   won  "  The  Cinema's  "   Still 

of  the   Year   Award,   this   time   with   the   magnificent   still    reproduced   above   from 

the  American  film  "  The  Pride  and  the  Passion  " 

calls  it  preaching  or  not  it's  cer- 
tainly needed,  especially  in  places 
like    Alabama    and    South    Africa. 

Lewis  McLeod. 


Just  as  we  were  going  to  press 
we  learned  of  the  marriage  of  two 
stalwarts  of  the  Editorial  Section, 
Stan  Hughes  and  Norma  Bremson, 
daughter  of  E.C.  member  Sid 
Bremson.  We  wish  them  happiness 
and  prosperity. 


Technicolor  are  the  latest  to 
sponsor  a  wide  screen  system. 
Teehnirama,  as  the  system  is 
called,  employs  standard  35mm. 
negative  which  moves  horizontally 
through  the  camera  exposing  an 
eight  perforation  picture  as  in 
Vista- Vision.  An  anamorphic  or 
CinemaScope  type  Technicolor 
release  print  made  from  the  Teeh- 
nirama negative  allows  for  maxi- 
mum use  of  the  available  positive 
frame.  (American       Cinemato- 




April  1957 

General  Council  in  Session 


amining  the  needs  of  specialised 
film  production  for  trainees  and 
newcomers;  the  resolution  would 
also  be  borne  in  mind  during  the 
discussions  that  had  started  just 
before  the  A.G.M.  with  the  British 
Film  Academy,  and  it  was  also 
referred  to  the  New  Entrants 

A  petition  is  soon  to  be  launched 
by  the  Union  as  a  further  step 
in  the  campaign  to  get  the 
Kodak  management  to  recognise 
A.C.T.T.  This  was  one  of  the  de- 
cisions taken  by  the  first  meeting 
of  the  newly-elected  General  Coun- 
cil, following  the  unanimous  adop- 
tion at  the  Annual  General  Meet- 
ing of  the  resolution  strongly 
urging  the  Council  to  examine  all 
means  of  bringing  pressure  to  bear 
on  Kodak  with  the  object  of 
achieving  Trade  Union  recognition. 
Head  Office  is  to  prepare  the  peti- 
tion in  conjunction  with  our  mem- 
bers at  Kodak,  and  it  is  to  be 
signed  by  leading  technicians,  in 
order  to  show  the  management 
that  the  question  of  recognition 
has  the  support  of  the  Union  as  a 

"  DREYFUS  CASE  ".  The  Acting 
General  Secretary  reported  that 
the  Ministry  of  Labour  had 
granted  permits  both  for  an 
American  Producer  (Sam  Zim- 
balist)  and  a  Director  (Jose  Ferrer, 
who  was  also  starring  in  the  film), 
to  work  at  M-G-M,  despite  the 
objections  from  A.C.T.T.  The 
matter  was  being  pursued  with  the 
Company  and  with  the  firm  sup- 
port of  the  Producer/Directors' 
Section  and  the  General  Council. 

Acoustic  Shop  Steward,  Bob 
Langdon,  reported  that  the 
A.C.T.T.    Shop    Committee    recom- 

mended that  our  members  stop 
work  with  the  A.E.U.  members  for 
as  long  as  the  dispute  with  the 
Engineering  Employers'  Federa- 
tion lasted.  After  discussion,  the 
Council  agreed  to  instruct  mem- 
bers to  abide  by  normal  Trade 
Union  action,  by  which  they  would 
refuse  to  handle  any  work  nor- 
mally done  by  A.E.U.  members  in 
dispute,  and  that  in  the  meanwhile 
the  Executive  Committee  would 
examine  the  best  ways  and  means 
of  assisting  its  brothers  at  British 
Acoustic.  It  was  further  agreed  to 
contact  the  A.E.U.  to  find  out  in 
what  way  our  assistance  at  B.A. 
could  be  given. 

On  a  recommendation  of  the 
Laboratory  Committee  it  was 
agreed  nem.  con.  to  give  financial 
support  to  the  Confederation  of 
Shipbuilding  and  Engineering 
Unions  in  their  dispute  and  that  a 
circular  should  go  out  to  Shop 
Stewards  about  it.  The  Executive 
has  donated  £100. 

1957  A.G.M.  DECISIONS.  A  num- 
ber of  the  resolutions  passed  at  the 
Annual  General  Meeting  were  con- 
sidered by  the  General  Council. 
On  the  resolution  instructing  the 
General  Council  to  do  all  it  can  to 
revive  any  joint  machinery  with 
employers  and  other  bodies  which 
will  ensure  a  suitable  and  con- 
trolled supply  of  new  entrants  into 
the  film  industry,  the  Council 
agreed  to  remind  the  A.S.F.P.  of 
the  clause  in  the  A.S.F.P.-A.C.T. 
Agreement  on  the  question  of  ex- 


for  one  tour  of  12/24  months  in  first  instance.  Fixed  salary  (including 
Inducement  Addition)  £1,600  a  year.  Gratuity  at  rate  £150  a  year.  Free 
passages  for  officer  and  wife.  Assistance  towards  children's  passages 
and  grant  up  to  £150  annually  towards  maintenance  in  U.K.  Liberal 
leave  on  full  salary.  Candidate  must  have  a  thorough  knowledge  of  all 
aspects  of  cine  film  processing  both  16mm.  and  35mm.  and  will  be 
required  to  open  up  and  run  a  small  laboratory  and  to  train  African 
staff.  Write  to  the  Crown  Agents,  4  Millbank,  London,  S.W.I.  State 
a^e,  name  in  block  letters,  full  qualifications  and  experience  and  quote 

BERS AT  A.G.M.s.  The  whole 
problem  of  devising  machinery 
whereby  members  on  duty  at  the 
time  of  the  A.G.M.  and  those 
working  in  provincial  centres  be 
given  full  and  proper  opportunities 
of  expressing  their  wishes  was  re- 
ferred to  the  Executive  to  prepare 
a  report. 

FILM  PRODUCTION.  On  the  re- 
solution urging  the  Government  to 
revive  the  former  policy  of 
generous  and  imaginative  sponsor- 
ship of  documentary  films  to  make 
known  at  home  and  abroad  the 
problems  and  achievements  of  the 
British  people,  it  was  agreed  that 
Dr.  Charles  Hill,  M.P.,  the  Govern- 
ment's co-ordinator  of  the  infor- 
mation services,  be  asked  to  re- 
ceive a  deputation;  the  resolution 
would  also  be  sent  to  the  A.S.F.P. 
for  information. 

of  the  resolution  calling  upon  the 
Government  to  establish  a 
National  Film  Unit  under  a 
National  Film  Board  would  be  sent 
to  the  Prime  Minister,  the 
Treasury  and  the  Leader  of  the 

STANDARDS.  This  resolution, 
which  urged  the  General  Council  to 
accept  responsibility  for  promoting 
the  highest  professional  and 
artistic  standards  in  technique  and 
content,  as  well  as  its  responsi- 
bility for  industrial  terms  and  con- 
ditions, was  referred  to  the  Execu- 
tive for  recommendations  to  be 
given  to  a  future  Council  meeting. 


resolution,  which  called  on  the 
Government  to  establish  a  National 
Film  Circuit  in  order  to  stimulate 
British  production  and  give  scope 
to  independent  pictures  would  be 
sent  to  the  President  of  the  Board 
of  Trade,  the  Film  Committees  of 
both  the  Labour  and  Conservative 
Parties,  and  the  other  film  unions; 
it  was  also  referred  to  the  Legis- 
lation   Committee    to    discuss    how 

April   1957 



the  A.C.T.T.'s  national  film  policy 
could  be  popularised. 


The  Feature  Branch  Committee 
and  Feature  Negotiating  Com- 
mittee were  asked  to  make  their 
joint  recommendations  to  the 
Executive  on  the  resolution  de- 
manding immediate  negotiations 
with  the  B.F.P.A.  for  a  substan- 
tial wage  increase  for  all  members 
covered  by  the  B.F.P.A. /A.C.T.T. 
Feature  Agreement,  as  well  as  on 
the  resolution  that  called  for  an 
examination  of  the  supplementary 
grades  in  the  B.F.P.A.  Agreement 
with  a  view  to  including  certain 
of  them  in  the  ordinary  schedule. 


The  request  from  Colour  Film  Ser- 
vices members  to  negotiate  with 
the  F.L.A.  the  inclusion  of  Koda- 
chrome  in  the  Integral  Tripack 
Agreement  was  considered  and  re- 
ferred to  C.F.S.  members  for  them 
to  prepare  a  case  for  presenting 
to  the  F.L.A. 

TELEVISION.  The  two  resolu- 
tions on  this  subject  were  con- 
sidered in  the  light  of  the  debates 
at  the  A.G.M.,  which  were  fully 
reported  in  the  Film  &  TV  Tech- 
nician last  month;  in  parti- 
cular, the  need  for  a  fast  time- 
table in  negotiating  a  new  TV 
Agreement  with  the  Programme 
Contractors'        Association        was 

Camera  Hire 

(1)  NEWMAN  SINCLAIR— Mirror  Shutter. 
All  Cooke  Lenses  including  Series  2., 
25mm.,  f.  1.7.  SINGLE  FRAME  EXPOSURE 
and  Electric  Motor  Drive.  (Available  fully 
adapted  for  CINEMASCOPE  if  required.) 

(2)  NEWMAN  SINCLAIR— Mirror  Shutter. 
Cooke  Lenses  and  24mm.  Angineux  Retro- 

(3)  NEWMAN  SINCLAIR— Model  G.  All 
and  Electric  Motor  Drive  if  required. 

Kingston  Tubular  and  Vinten  Light  Gyro 


Metal  construction,  pneumatic  tyres,  drop- 
down jacks,  lightweight  tracks,  etc. 


FINchley  1595 

stressed  by  a  number  of  Council 
members  and  Shop  Stewards  from 
all  side  of  the  industry.  The  first 
resolution,  which  among  other 
things  drew  the  attention  of  the 
Postmaster-General  and  the  T.TJ.C. 
to  the  fact  that  the  B.B.C.  still 
refused  to  recognise  A.C.T.T.  in 
the  television  field,  would  be  sent 
to  the  Postmaster-General  and  the 
T.U.C.  It  was  further  agreed  that 
an  Organiser  should  be  allocated 
full-time  to  TV  work,  and  that  the 
Finance  and  General  Purposes 
Committee  should  go  into  the  need 
to  engage  extra  Head  Office  staff 
in  consultation  with  George  Elvin. 
The  whole  question  of  recognition 
for  A.C.T.T.  by  the  B.B.C.  was 
referred  to  the  Executive. 

lengthy  discussion  it  was  agreed  to 
circularise  all  Shop  Stewards  with 
the  resolution  urging  that  no 
member  of  A.C.T.T.  should  be 
allowed  to  proceed  on  film  or  TV 
foreign  location,  with  the  excep- 
tion of  urgent  newsreel  assign- 
ments, without  notifying  Head 
Office  and  checking  that  the  terms 
and  conditions  of  the  location  had 
been  cleared. 


We  announce  with  deep  regret 
the  death  of  Arthur  Bushnell, 
known  to  everybody  as  "  Busby  ", 
who  first  joined  the  industry 
during  Rome  Express  at  Lime 
Grove.  He  started  from  the  Royal 
Navy,  where  he  was  a  telegraphist, 
on  maintenance,  and  became  mixer 
for  G.B.  News  after  the  1937 

"  Busby  "  was  the  happiest  man 
in  the  studios  and  had  the  readiest 
and  most  infectious  laughter  I 
have  ever  known.  One  executive 
said  it  was  impossible  to  tell  Busby 
off;   he  just  laughed  in  your  face. 

Busby  was  a  staunch  trade 
unionist,  not  one  of  the  spectacular 
type  but  of  the  solid  kind  that 
every  organiser  and  shop  steward 
likes  to  have  behind  him.  He 
started  with  the  E.T.U.  (Sound 
Branch)  at  a  time  when  it  was 
dangerous  to  admit  you  were  in  a 
trade  union  and  changed  to 
A.C.T.T.  with  the  other  sound  men. 

Everybody  who  knew  him  will 
miss  him. 



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lib,"*  Designed  to  fit  your 
own  Synchroniser. 
The  perfect  supple- 
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Quick  Delivery. 

PRICE     £45      EX    WORKS 

(Excluding    Synchroniser) 



71    DEAN   ST.,  LONDON,  W.I 

GER  4633 



April   1957 

LAB  TOPICS  —  By  A  If  Cooper 

At  the  first  meeting  of  the 
Laboratories  Committee  after  the 
A.G.M.  Daphne  Le  Brun  was  again 
elected  as  Secretary,  George  Irons 
re-elected  as  Vice-Chairman  and 
myself  as  Chairman.  The  commit- 
tee also  officially  recorded  their 
appreciation  and  thanks  for  the 
work  put  in  for  the  Labs  by  Bessie 
Bond  during  the  year. 

The  Committee  directed  that  the 
new  General  Council  be  asked  to 
look  into  ways  and  means  of  pur- 
suing a  stronger  and  more 
vigorous  campaign  to  remove  the 
iniquitous  regulation  in  the  Un- 
employment Act  which  enables  the 
employers  to  lock  out  employees 
and  thus,  with  the  aid  of  this  Gov- 
ernment regulation,  starve  the 
workers  into  submission  because 
unemployment  pay  is  not  forth- 

Strong  Feeling 

As  you  know,  all  the  Lab  boys 
feel  most  strongly  about  this  one- 
sided Act.  It  is  to  be  hoped  that 
the  new  General  Council,  with  the 
aid  of  progressive  M.P.s  and  the 
T.U.C.,  will  get  this  matter  put 
right  in  the  near  future.  It  is  only 
fair  to  state  here  that  the  General 
Council  has  made  a  lot  of  progress 
in  this  direction  but  it  still  has  a 
long  way  to  go. 

During  the  Lab  Committee  meet- 
ing, Alf  Hunter,  who  has  been 
attending  the  Committee  on  behalf 
of  Colour  Film  Services  for  the 
last  eighteen  months,  handed  in  his 
resignation  because  his  wife's  ill 
health  makes  it  impossible  for  him 
to  be  absent  from  home  during  the 
evenings.  The  Committee  ex- 
pressed its  regret  at  hearing  this 
news  and  thanked  Alf  for  the 
great  amount  of  work  and  effort 
he  has  put  in  for  A.C.T.T.  during 
his  period  as  Shop  Steward  at 
Colour  Film  Services. 

Alf  has  been  with  the  Union 
something  like  twelve  years  and  on 
leaving  Technicolor  soon  found 
himself  a  Shop  Steward's  ticket. 
We  all  sincerely  hope  that  his 
wife's  health  will  soon  improve. 

Some  of  the  Committee  members 
were  invited  to  attend  the  next 
meeting  of  Colour  Film  Services. 
Bill  Whittemore  from  Humphries, 
Laurie  Ward  of  Kays,  Finsbury 
Park,  and  I  went  along  to  this 
meeting  on  the  following  Friday 
evening  and  had  a  very  enjoyable 
time  among  a  bunch  of  good,  loyal 
Union  boys. 

At  the  moment  our  members  at 
Colour  Film  Services  are  working 
without  the  protection  of  a  full 
Trade  Union  Agreement.  This  is 
one  of  the  points  the  meeting  de- 
cided must  be  put  right  in  the  very 
near  future  and  so,  having  elected 
a  new  shop  steward  and  committee, 
they    mandated    them    very    force- 

fully to  get  on  with  the  job  of 
preparing  a  document  ready  for 
joint  signature  with  the  manage- 

Peter  Booker  was  elected  as 
Shop  Steward  and  Alf  Hunter  as 
his  deputy,  Bob  Catford  was  re- 
elected Chairman  and  Ted  Davies 
as  Shop  Secretary. 

We  all  wish  the  C.F.S.  boys  good 
luck  with  their  Agreement  and,  as 
always,  we  will  give  them  all  the 
support  and  help  that  may  be  re- 

Shorts  &  Documentary  Section 


Our  Section  A.G.M.  held  at  the 
Mezzanine  Theatre,  Shell  Mex 
House,  on  March  26th,  was  very 
successful,  and  very  well  attended. 

The  Secretary's  report  led  to 
some  discussion  regarding  adver- 
tising agents  and  companies 
making  TV  commercials.  Helpful 
contributions  were  made  from  the 
floor  and  I  am  sure  the  new  Com- 
mittee, will  note  the  points  raised. 

New  Committee 

The  new  committee  elected  at 
the  meeting  is  as  follows:  Shorts 
Vice-President  Max  Anderson, 
Chairman;  Eric  Pask,  Vice-Chair- 
man, and  Steve  Cox,  Secretary; 
Committee  members  :  Ralph  Bond, 
Gloria  Sachs,  Chris  Brunei,  Derek 
Knight,  Ralph  Sheldon,  Lindsay 
Anderson,  Joe  Telford,  Alun  Fal- 
coner and  Denis  Segaller. 

It  will  probably  be  noticed  that 
we  have  six  new  faces  on  the  Com- 
mittee to  look  after  our  interests 
for  the  next  twelve  months.  On 
behalf  of  the  Section  I  should  like 
to  thank  the  members  who  were 
not  re-elected  for  their  services 
during  their  term  of  office. 

Now,  as  Secretary,  I  want  to 
apologise  to  Bessie  Bond,  our 
Organiser,  for  not  mentioning  in 
my  report  the  assistance  and  guid- 
ance she  has  given  us  and  all  the 
work  she  has  done  for  our  Section. 
Thank  you,  Bessie,  and  please  ex- 
cuse my  thoughtlessness. 

To  wind  up  the  meeting  we  had 
a  viewing  of  Song  of  the  Clouds, 
a  colour  film  made  by  the  Shell 
Film  Unit  and  directed  by  John 

Sponsored  by  Shell,  the  film  dealt 
with  air  travel  on  the  major  air- 
lines of  the  world.    It   is   intended 

for  non-theatrical  distribution. 

After  the  showing,  John  Arm- 
strong took  the  Chair  to  be  "  shot 
at "  during  the  discussion.  The 
general  feeling  was  that  the  com- 
mentary was  poor,  that  the  music 
didn't  do  what  effects  could  have 
done,  and  that  the  passengers,  or 
tourists,  gave  the  impression  of  not 
leaving  the  ground.  But  the  photo- 
graphy was  first  class. 

Personally,  I  also  felt  that 
dozens  of  aircraft  were  leaving  the 
airstrip  together,  and  it  seemed  a 
miracle  that  there  wasn't  a  "  pile- 
up  ". 

Didn't  Come  Off 

To  sum  up  the  discussion,  it 
seems  as  though  something  big  in 
Documentary  had  been  attempted, 
but  that  it  didn't  come  off. 

We  also  saw  another  Shell  Film, 
directed  by  Denis  Segaller,  called 
Lubrication  in  Industry.  This  film 
had  a  "  gimmick  "  of  going  alter- 
nately from  black  and  white  to 
colour.  There  was  no  time  for  dis- 
cussion afterwards,  but  I  did  glean 
some  points  of  view,  which  all 
boiled  down  to  the  fact  that  the 
"  gimmick  "  wasn't  necessary.  "All 
or  none  ",  was  the  verdict. 

Now  for  the  News;  and  what  a 
news  flash !  For  making  this  an- 
nouncement I  shall  probably  have 
my  invitation  withdrawn  !  Many  of 
our  members  in  Shorts  and  in 
the  Labs  may  be  surprised  to  read 
this.  Eric  Pask,  our  Vice-Chairman, 
has  decided  that  being  a  bachelor 
calls  for  paying  too  much  income 
tax,  so  on  May  11th  he  is  going  to 
the  altar  with  a  very  charming 
Brummie  lass,  Joan  Robinson.  The 
wedding  and  reception  will  take 
place  at  Birmingham.  Best  of 
luck  Eric  and  Joan  (I  say  this  on 
behalf  of  all  of  vou). 

April  1957 



•  NO  NEED  TO  LOOK  TWICE  . . . 

^  ...  once  is  sufficient  to  see  the  noticeable  improvement  in  all  films  when  masked  printed 

by  Colour  Film  Services  Limited— Britain's  biggest  16  mm  Kodachrome  laboratory. 

22-25  PORTMAN  CLOSE  •  BAKER  STREET  •  LONDON  •  W.l.       Telephone:  Hunter  0408-9 




April   1957 

a  clear  case  for 

ILFORD  HP3  &  FP3 

35  mm  cine  negatives 

Columbia  Pictures  present  a  Maxwell  Setton  Production 



also  starring  DEREK  FARR 

and  introducing  Elizabeth  Seal 

Screenplay  by  Robert  Westerby  and  Ken  Hughes 

Produced  by  Maxwell  Setton 

Directed  by  John  Guillermin 

Director  of  Photography :  Basil  Emmott 

Photographically  speaking  exposures  are  invariably  a  problem 
for  a  Director  of  Photography.  In  this  man-by-man  murder 
puzzle  Basil  Emmott  was  very  satisfied  with  the  results  he 
obtained  from  using  Ilford  HP3  and  FP3  cine  negatives. 


35  mm  cine  negatives 

Ilford  Limited    Cine  Sales  Department      104  Hts;h  Ho/born     London      W.C.I   '  Holborn  3401 

Published  by  the  Proprietors,  The  Association  of  Cinematograph,  Television  and  allied  Technicians,  2  Soho 
Square,  London,  and  Printed  by  Watford  Printers  Limited.  Watford,  Herts. 

MAY       ....       1957 

Association    of    Cinematograph,    Television    and    Allied    Technicians 
Vol.  23  No  149  PRICE  6d. 


FILM  OR  'LIVE'  ? 




Charlie  Chaplin  in  the  British  Film  "A  King  in  New  York' 



May  1957 

•  NO  NEED  TO  LOOK  TWICE  . . . 

,  ...  once  is  sufficient  to  see  the  noticeable  improvement  in  all  films  when  masked  printed 

by  Colour  Film  Services  Limited— Britain's  biggest  16 MM  Kodachrome  laboratory. 

22-25  PORTMAN  CLOSE  •  BAKER  STREET  •  LONDON  •  W.l.       Telephone:  Hunter  0408-9 


May  1957 


'*     Vtattum  of  ModJ^I  Art 




TYJE  can  well  understand  little 
"  enthusiasm  being  displayed  by 
the  delegates  to  the  Summer  Con- 
ference of  the  Cinematograph  Ex- 
hibitors' Association  when  listen- 
ing to  the  paper  read  by  their 
guest  and  fellow-member  Mr.  John 
Davis.  After  all  no  one  likes  be- 
ing told  they  are  out  of  date,  ineffi- 
cient, excessive  in  number  and  will 
have  to  go  out  of  business,  stric- 
tures which,  as  the  speaker  said, 
applied  to  many  of  Mr.  Davis's 
audience.  You  like  it  less  still 
when  told  the  facts  of  life  by  the 
managing  director  of  the  in- 
dustry's biggest  combine  which 
very  much  intends  to  stay  in  busi- 
ness, whoever  else  is  forced  to  the 
wall.  But  it  is  not  out  of  sympathy 
for  impoverished  and  incompetent 
cinema-owners  that  we  adopt  the 
unusual  course  of  summarising  at 
length  in  subsequent  pages  the 
address  given  by  Mr.  Davis.  Our 
views  and  policy  on  the  economics 
of  the  monopolistic  tendencies  in 
the  industry  are  well  known.  It  is 
because  Mr.  Davis  is  one  of  the 
largest  and  certainly  the  most  in- 
fluential employer  of  our  members 
and  the  first  person,  other  than  the 
Trade  Unions,  who  has  given  real 
thought  to  the  place  of  films  in  a 
changing  world. 

One  of  the  most  significant 
views  he  expresses  is  the  anticipa- 
tion that  Hollywood  will  lose  its 
grip  on  the  world's  markets. 
Whether  this  is  coloured  by  the 
fact  that  the  American  industry 
doesn't  like  Mr.  Davis — and  we 
hazard  the  reverse  also  holds  good 
— is  a  matter  of  conjecture.  Be- 
cause of  American  product  short- 
age Mr.  Davis  anticipates  an  in- 
creasing number  of  dubbed  foreign 
films  being  shown  on  our  screens, 
the  European  films  commanding 
quotas  as  British  films  do  now.  If 
such  films  are  shown  at  the  ex- 
pense of  American  films  the  idea 
is  well  worth  investigating,  and 
the  intention  is  to  have  a  Euro- 
pean   Common    Market    to    smash 

the  stranglehold  Hollywood  has 
had  on  our  screens  for  the  past 
forty  years.  However,  we  don't 
think  shortage  of  product  alone, 
particularly  bearing  in  mind  the 
change  in  exhibiting  technique  by 
road  showing  and  longer  runs,  will 
necessarily  lead  to  America  losing 
its  grip  on  the  world's  markets. 
But  we  must  at  all  costs  avoid  a 
position  whereby  on  the  score  of 
European  unity  we  destroy  the 
individuality  of  each  national  pro- 
duction industry — and  incidentally 
adversely  affect  employment — as 
in  that  course  lies  death  not  life. 
But  as  members  know,  all  the 
problems  of  co-production,  impli- 
cit in  Mr.  Davis's  proposals,  were 
discussed  as  recently  as  our  last 
Annual    General    Meeting. 

One  gathers  that  Mr.  Davis 
almost  sees  the  motor-car  as  a 
greater  competitor  to  the  cinema 
than  television.  A  rather  odd 
thought  from  the  man  who  distri- 
buted Genevieve'.  But  at  least 
he  is  right  in  coming  round  to  our 
point  of  view  that  cinema  films 
and  television  are  complementary 
parts  of  one  big  entertainment  in- 
dustry, and  it  is  foolish  for  one  to 
continue  to  seek  to  ignore  and  try 
to  combat  the  existence  of  the 

But  when  it  comes  to  solutions 
we  must  part  company  with  Mr. 
Davis.  Rationalisation,  modernisa- 
tion, efficiency — all,  of  course,  ad- 
mirable in  themselves — are  his 
solution.  No  mention  is  made  of 
the  tightening  monopolistic  con- 
trol which  such  processes  will  put 
in  his,  and 
others',  hands; 
no  thought  of  the 
social  implica- 
tions  of  his 
policy;  certainly 
no  word  about 
the  workers  who 
are  to  lose  their 
jobs  through 
these   processes. 

We  welcome  Mr.  Davis  making 
his  statement.  We  applaud  its 
lucidity.  We  are  grateful  for  his 
criticisms  of  incompetent  and  out- 
moded exhibiting  and  renting  in- 
terests. Many  of  the  problems 
posed  are  vital.  A  number  of  his 
thoughts  are  new  and  should  be 
examined  by  us  all.  The  joint 
committee  of  the  British  Film  Pro- 
ducers' Association  and  the  Trade 
Unions  should  discuss  them.  But 
in  so  doing  we  must  face  up  to 
the  issue,  which  Mr.  Davis  ignores, 
that  in  passing  from  a  haphazard 
industry  to  a  ruthlessly  efficient 
one,  meeting  all  the  challenges  of 
the  times,  we  also  have  to  safe- 
guard both  the  public  good  and 
that  of  the  workers  in  the  industry 
by  having  that  measure  of  public 
control,  social  ownership  and  joint 
industrial  responsibility  which  is 
essential  for  those  purposes. 


Our  New  Cover 

E  appear  this  month  in  our 
new  cover,  which  symbolises 
the  growing  importance  of  Tele- 
vision. The  design,  by  Jack  Timms, 
Lettering  Artist  at  Denham,  was 
the  winning  entry  in  our  Cover 
Design  Competition.  This  month's 
cover  still  shows  A.C.T.T.'s  most 
recent  Honorary  Member,  Charlie 
Chaplin,  in  the  British  film  A  King 
in  New  York,  which  was  shot  at 
Shepperton  Studios.  The  film  is 
distributed  in  the  United  Kingdom 
by  Archway  Film  Distributors,  to 
whom  we  are  indebted  for  the  still. 



Editorial  Office: 

2  SOHO   SQUARE,  W.l    (GERrard  8506) 

Advertisement  Office: 

5  &  6  RED  LION  SQ.,  W.C.I  (HOLborn  4972) 



May  1957 

Tj^OCUS  this  month  is  on  the  Tele- 
-*-  vision  side.  At  the  time  of 
going  to  press  our  Television 
members  have  endorsed  the  Tele- 
vision Agreement  proposals  and 
they  have  been  sent  to  the  Pro- 
gramme Contractors.  It  is  a 
worthwhile  question  to  ask 
whether  the  Association  of  Broad- 
casting Staffs  has  put  its  nego- 
tiating proposals  before  its  mem- 
bership  in  commercial  television. 

In  the  meantime,  local  repre- 
sentations from  A.C.T.T.  in 
Granada  and  A.R.T.V.  have  won 
high  premium  payments  for  the 
staffs  over  Easter.  Our  policy  of 
local  achievement  as  well  as  the 
struggle  for  a  proper  national 
agreement  is  winning  increasing 
membership  in  such  companies  as 
Alpha  Television  in  Birmingham 
and  A.T.V.  in  London. 

It  is  perhaps  symbolic  of  the 
situation  in  commercial  Television 
and  the  difficulties  of  obtaining 
just  rates  and  conditions  for  tech- 
nicians that  a  contract  reputed  to 
be  worth  over  £100,000  per  year 
has  recently  been  signed  for  the 
purpose  of  supplying  "  audience 
data  ".  For  the  purpose  of  supply- 
ing top  technical  ability  the  re- 
sources seem  to  be  a  little  more 

Under  Fire! 

Typical— but  not  too  typical, 
I  hope — of  the  hazards  of  working 
in  Television  is  the  experience  suf- 
fered by  Herbert  Wise,  director  of 
Granada's  Under  Fire  programme. 
The  programme  has  two  M.P.s  in 
London  questioned  by  an  audience 
in  the  Manchester  studio  on  some 
burning  issue  of  the  day. 

On  this  occasion  the  M.P.s  were 
under  fire  from  the  local  doctors 
concerning  the  B.M.A.'s  pay  claim 
^"i  their  behalf.  Herbert  was  busy 
in  the  last  hour  before  the  pro- 
gramme went  on  the  air  organis- 
ing the  main  spokesmen — reassur- 
ing the  doctors  on  their  first  TV 
i|"  'arance.  The  last  points  had 
boon  cleared  up,  everyone  was 
keyed  up  ready  to  go  on  the  air 
when  in  walks  a  technician  and 
anxiously      announces      that      the 

Government    has    awarded    a    pay 
increase  to  the  doctors! 

For  several  horrible  minutes  it 
seemed  that  not  only  was  the  pro- 
gramme "  under  fire  "  but  rapidly 
going  down  in  flames.  Luckily  it 
turned  out  that  the  news  an- 
nouncement had  been  misinter- 
preted and  the  doctors  were  able 
to  go  forward  with  their  interro- 

Herbert  Wise  seemed  to  take  the 
situation  calmly  enough — one  can 
only  suppose  that  experiences  like 
this  in  TV  are  added  to  the  ulcer 
bill.  For  Herbert  the  evening  had 
only  started  with  this  incident. 
Midnight  found  him  in  the  outer 
reaches  of  Manchester  helping  to 
change  the  tyre  on  his  taxi! 

Quote  .  .  . 

The  "  Daily  Express" — certainly 
no  lover  of  commercial  Television, 
but  like  our  members,  very  con- 
cerned about  the  amount  of  filmeo* 
American  material  that  is  appear- 
ing on  TV  recently,  had  this  to 
say,  "  The  B.B.C.'s  leaning  to- 
wards American  TV  this  week 
adds  up  to  a  solid  8  hours  20 
minutes  of  States-side  imported 
stuff.  .  .  .  Even  commercial  TV, 
notorious  customer  for  the  Ameri- 
can stockpile  of  canned  film,  could 
not  compete  .  .  .  we  are  being  bull- 
dozed by  noise,  dubbed  applause, 
and  slickness,  into  a  state  of 
hypnotism  ...  if  the  B.B.C.  sets  its 
mind  to  paying,  nurturing,  and 
giving  the  same  professional  treat- 
ment  to   British  script  writers  as 

The  TV  Quiz  Show  is,  by  Ameri- 
can standards,  I  suppose,  still 
much  in  its  infancy.  The  whole 
operation  would  seem  to  be  a 
pretty  innocent  one.  From  an 
article  in  Time  magazine  this 
would  seem  to  be  far  from  the 
case  with  the  myriad  quiz  pro- 
grammes on  the  U.S.  Television 

Time  asks  the  question  "  Are 
the  quiz  shows  rigged?  "  and 
answers  it  by  saying  that  the  pro- 
ducers of  many  quiz  shows  control 
the  outcome  as  closely  as  they 
dare — without  the  actual  collusion 
of  the  contestants. 

So  little  is  apparently  left  to 
chance  that  a  new  group  of  crafts- 
men calling  themselves  "  audience 
participation  comedy  writers  "  has 
arisen.  On  some  shows  they  even 
write  the  ad-lib  banter  between 
contestant    and    questionmaster. 

One  of  the  biggest  problems 
seems  to  be  how  to  get  rid  of  the 
contestant     who     does     not     make 

To   get   rid  of  the  contestant  " 

good  entertainment  and  how  to 
encourage  the  dramatic  person- 
ality who  might  fall  down  on  the 
tough  question.  On  one  show 
candidates  cannot  qualify  for  the 
show  without  taking  a  four-hour, 
363-question  test.  Said  one  pro- 
fessor, "  The  questioning  was  com- 
parable to  an  oral  exam,  for  a 

Veteran  Honoured 

Veteran  Producer  -  Director, 
Adrian  Brunei,  father  of  Chris 
Brunei,  Executive  Committee 
member,  was  recently  in  Italy 
and  was  honoured  by  the  Mayor 
of  Rome.  He  was  presented  with 
a  silver  medal  in  recognition  of  his 
writings  on  that  city.  Adrian 
Brunei's  writings  have  not  been 
confined  to  travel.  Younger  mem- 
bers should  find  "  Nice  Work  ", 
Adrian's  autobiography,  a  witty 
and  instructive  story  of  the  early 
struggles  of  the  industry. 

".   .   .   into    a    state    of    hynotism  " 

the  Americans  give  to  theirs,  we 
might  have  a  better  product,  and 
less  dollar  buying." 



May  1957 

Guide  to  British  Film 


Year  of  Production:    1956. 

Studio:    M.G.M.   British  Studios. 

Laboratory:    Humphries. 

Producing  Company:  Ealing  Films 

Producer:    Sir  Michael   Balcon. 

Stars :  Jack  Hawkins,  Elizabeth  Sellars. 

Associate  Producer:    Seth  Holt. 

Director:    Charles  Crichton. 

Camera  Department:  Lighting  Camera- 
man, Douglas  Slocombe;  Camera 
Operator.  Chic  Waterson ;  1st  Camera 
Assistant  (Focus),  Herbert  Smith; 
Other  Camera  Assistant,  Michael 
Sarafian ;  Second  Camera  Operator, 
Hugh  Wilson. 

Bound  Department:  Recordist  (Mixer), 
Norman  King;  Sound  Camera  Opera- 
tor, Eric  Stockl;  Boom  Operator, 
Cyril  Swern;  Other  Assistant,  Ray 
Palmer;  Dubbing  Crew,  J.  B.  Smith, 
J.  Bramwell,  W.  Carr,  C.  Jones. 

Art  Department:  Art  Director,  Jim 
Morahan;  Assistant  Art  Director, 
Alan  Withy;  Draughtsman,  Kenneth 

Editing  Department:  Editor,  Peter 
Tanner;  Assembly  Cutter,  Harry 
Aldous;  Other  Assistant,  Robin 
Clarke;  Dubbing  Editor,  Alastair 

Production  Department :  Production 
Manager  and/or  Unit  Production 
Manager,  Spike  Priggen;  1st  Assis- 
tant Director,  Tom  Pevsner;  2nd 
Assistant  Directors,  Michael  Birkett, 
John  Meadows;  3rd  Assistant  Direc- 
tor, Ronald  Purdie;  Continuity,  Jean 
Graham;  Assistant  Continuity,  Lee 
Turner;  Production  Secretary,  Daphne 

Stills  Department:  Still  Cameraman, 
Roy  Gough;  2nd  Cameraman,  Gordon 

Publicity  Director:    Jack  Worrow. 


Year  of  Production :    1956. 

Studio:    Walton  Studios  Limited. 

Laboratory :    Rank  Labs,  Denham. 

Producing  Company:  Gibraltar  Pic- 

Producer:    Steven  Pallos. 

Associate  Producer:    Charles  A.   Leeds. 

Stars:  Skip  Homier,  Paul  Carpentei , 
Patricia  Dainton. 

Director:    Montgomery  Tully. 

Scenarists:     C.   A.   Leeds,   M.   Tully. 

Camera  Department:  Lighting  Camera- 
man, Lionel  Banes;  Camera  Operator, 
Leo  Rogers;  1st  Camera  Assistant 
(Focus),  Mark  Hyams;  Other  Camera 
Assistant,  D.  Area. 

Sound  Department:  Recordist  (Mixer), 
W.  Lindop;  Sound  Camera  Operator, 
H.  Raynham ;  Boom  Operator.  G. 
Humphries;  Maintenance,  C.  Earl; 
Dubbing  Crew,  R.C.A. 

Art  Department:  Art  Director,  John 
Stoll;  Draughtsmen,  Supplied  by 

Editing  Department:  Editor,  James 
Connock;  Assembly  Cutter,  Edward 
Jeffries;  Dubbing  Editor,  James  Con- 

Production  Department:  Production 
Manager  and/or  Unit  Production 
Manager,  Robert  Dearing;  1st  Assis- 
tant Director,  George  Pollard ;  2nd 
Assistant  Director,  Paul  Freeman ; 
Continuity,  Barbara  Thomas;  Pro- 
duction   Secretary,    Maureen    Meldon. 

Stills  Department:  Still  Cameraman. 
Ricky  Smith. 

Publicity  Department:  Publicity  Direc- 
tor, Horrace  Beck. 


Year  of  Production:    1956. 

Studio:    New  Elstree  Studios. 

Laboratory:     Humphries    Laboratories. 

Producing  Company:  Westridge  Pro- 

Producer:     Thomas   Clyde. 

Stars:    Ron  Randell,  Mary  Parker. 

Director:    Harold  Huth. 

Camera  Department:  Lighting  Camera- 
man, Brendan  J.  Stafford ;  Camera 
Operator,  Leo  Rogers ;  1st  Camera 
Assistant   (Focus),  Monty  Tomblin. 

Sound  Department:  Recordist  (Mixer). 
Stanley  J.  Smart;  Sound  Camera 
Operator,  Derek  Monk;  Boom  Opera- 
tor, Ted  Belcher. 

Art  Department:  Art  Director,  Harrv 

Editing  Department:  Editor,  Peter 
Pitt;    Dubbing   Editor,    Harry    Booth. 

Production  Department :  Production 
Manager,  Barry  Delmaine;  1st  Assis- 
tant Director,  David  Tomblin;  2nd 
Assistant  Director,  John  Roddicit; 
Continuity,  Barbara  Wainwright. 

Stills  Department:  Still  Cameraman. 
Cyril  Stanborough. 

Production    Secretary:     Gladys    Houck. 


Year  of  Production  :    1956. 

Studio:    Pinewood. 

Laboratory:  Rank  Laboratories  (Den- 
ham)  Ltd. 

Producing  Company:  Rank  Organisa- 
tion Film  Productions  Ltd. 

Producer:    Hugh  Stewart. 

Stars:  Norman  Wisdom,  Jerry  Des- 
monde,  Maureen  Swanson,  Michael 

Prodtiction    Controller:     Arthur    Alcott. 

Director:    John  Paddy  Carstairs. 

Scenarists:  Jack  Davies,  Henry  E. 
Blyth,    Peter  Blackmore. 

Camera  Department :  Lighting  Camera- 
man, Jack  Cox;  Camera  Operator, 
Dudley  Lovell ;  1st  Camera  Assistant 
(Focus),  Jim  Devis:  Other  Camera 
Assistant,   Kenneth  Coles. 

Souyid  Department:  Recordist  (Mixer). 
Dudley  Messenger;  Sound  Camera 
Operator,  Charles  Arnold;-  Boom 
Operator,  John  Salter;  Boom  Assis- 
tant, A.  Carverhill;  Music,  Ted 
Drake;  Dubbing  Crew.  Gordon  K. 
McCallum,  W.  Daniels,  C.  Le  Mes- 

Art  Department:  Art  Director,  Cedric 
Dawe ;  Assistant  Art  Director  (Set), 
Graham  Goodwin;  Draughtsmen.  Jack 
Shampan  (Chief).  Bob  Cartwright, 
Bruce  Grimes. 

Editing  Department:  Editor.  John 
Shirley;  Assembly  Cutter,  Peter 
Flack:  Other  Assistants,  Michael 
Edmonds,  Peter  Taylor;  Dubbing 
Editors,  Jimmy  Groom  (Asst.),  Les 

Production  Department:  Production 
Manager,  Jack  Hicks;  1st  Assistant 
Director,  Pat  Marsden ;  2nd  Assistant 
Director,  Luciano  Sacripanti;  3rd 
Assistant  Director,  Dominic  Fulford ; 
Continuity,  Joan  Davis:  Assistant 
Continuity,  Maureen  Hensby;  Pro- 
duction Secretary,  Ruth  Grossman. 

Stills  Department:  Still  Cameraman. 
Albert  Clarke. 

Special      Processes:       W.      Warrington. 
Bert    Marshall,    C.    Culley,   F.   George. 
Unit  Publicist:    George  Mason. 


Year  of  Production  :    1956. 

Studio:     Pinewood. 

Laboratory:    Technicolor. 

Producing  Company:  Rank  Organisa- 
tion  Film   Productions   Limited. 

Producer:    John  Bryan. 

Production    Controller:     Arthur    Alcott. 

Stars:  Dirk  Bogarde,  Jon  Whiteley, 
Michael  Hordern,  Lyndon  Brook. 
Geoffrey  Keen,  Josephine  Griffin. 
Rosalie  Crutchley,  Maureen  Swanson. 
Cyril  Cusack. 

Director:    Phil  Leacock. 

Camera  Department:  Lighting  Camera- 
man: Chris  Challis;  Camera  Opera- 
tor, Austin  Dempster;  1st  Camera 
Assistant  (Focus),  Steve  Claydon ; 
Other  Camera  Assistant,  Michael  Fox. 

Sound  Department:  Recordist  (Mixer), 
John  W.  Mitchell;  Sound  Camera 
Operator,  Ron  Butcher;  Boom  Opera- 
tor, J.  W.  N.  Daniel:  Boom  Assis- 
tant, R.  Charman;  Music,  Ted  Drake; 
Dubbing  Crew,  Gordon  K.  McCallum. 
W.  Daniels,  C.  Le  Messurier;  Sound 
Maintenance  (Location).  Austin  Part- 

Art  Department:  Art  Director.  Maurice 
Carter;  Assistant  Art  Director  (Set), 
Vernon  Dixon ;  Draughtsmen,  Bert 
Davey  (Chief),  Ramsay  Short,  John 
Jones,   Bob  Cartwright. 

Editing  Department:  Editor,  Reg 
Mills;  Assembly  Cutter,  Noreen 
Ackland;  Other  Assistant,  Peter 
Bushell;  Dubbing  Editors.  Harry 
Miller,   Barbara  Rodwell   (Asst.). 

Production  Department:  Pioduction 
Manager,  Peter  Manley:  1st  Assistant 
Director,  Harold  Orton ;  2nd  Assis- 
tant Director.  Charles  Hammond;  3rd 
Assistant  Director.  Peter  Carey;  Con- 
tinuity, Joan  Davies;  Production 
Secretary,   Jean  Tisdall. 

Stills  Department:  Still  Cameraman. 
Norman   Gryspeerdt. 

Dress  Designer:    Maggie   Furze. 

Unit  Publicist:    Jean  Osborne. 


Year  of  Production:    1956. 

Studio:    Walton-on-Thames. 

Laboratory:     Kays    Laboratories    Ltd. 

Producer:    W.  G.  Chalmers. 

Stars:  Hugh  McDermott,  Jane  Hylton, 
Honor  Blackman. 

Director:    Maclean  Rogers. 

Scenarist :    Maclean  Rogers. 

Camera  Department:  Lighting  Camera- 
man, Jimmie  Harvey ;  Camera  Opera- 
tor, Des  Davis ;  1st  Camera  Assistant 
(Focus),   Manny  Winn. 

Sound  Department:  Recordist  (Mixer). 
Freddie  Ryan;  Sound  Camera  Opera- 
tor, Terry  Sharrat ;  Boom  Operator, 
D.  Somerset:  Maintenance,  G.  Barnes. 

Art  Department:  Art  Director,  Bill 

Editing  Department:  Editor,  Ben 
Hipkins;    1st    Assistant,    D.    Hipkins. 

Production  Department:  Production 
Manager  and /or  Unit  Production 
Manager,  Fraser  Foulsham ;  1st  Assis- 
tant Director,  Ralph  McCormick;  2nd 
Assistant  Director,  Harvev  Woods; 
Continuity,  Margery  Lavelly;  Pro- 
duction   Secretary.    Sheila    O'Donnell. 

Stills  Department:  Still  Cameraman. 
Douglas  Webb. 


May  1957 


The  sound  crew  responsible  for  all 
Post /Synch  (with  the  exception  of  one 
character)  and  all  music  sessions  in 
Odongo  (see  March  Supplement)  were 
Maurice  Askew  (Mixer),  Bill  Germain 
(Assistant  Mixer  and  Boom),  Edward 
Li.  Nakhimoff  (Sound  Camera  Opera  01 
George   Lewis    (Maintenanci  l 


Year  of  Production      11)50. 

Studio:    Pinewood. 

Laboratory.  Rank  Laboratories  (Den- 
ham)   Limited. 

Producing  Company:  Rank  Organisa- 
tion Film  Productions  Ltd. 

Producer:    Leslie  Parkyn. 

Production    Controller:     Arthur    Alrott. 

Stars:  Muriel  Pavlow.  Donald  Sindcn, 
Tony   Wright. 

Director:    Roy  Baker. 

Scenarist:    Anthony  Pelis  ii  1 

Camera  Department:    Lighting  Camera 
man,  Geoff  Unsworth;   Camera  Op'  re 
tor,   .la   k   Atcheler;    1st    Camera   A 
tant      (Focus).     John     Alcott;     Other 
Camera       Assistant.       Jack       Ri  son; 
Second       Camera       Operator,       Robin 

Sound  Department:  Recordist  (Mixer), 
Geoff  Daniels;  Sound  Camera  Opera 
tor,  D.  Barnett;  Boom  Operators. 
Pat  Wheeler.  R.  Charman :  Dubbing 
Crew,  Gordon  K.  McCallum.  V 
Daniels,  C.  Le  Messurier;  Music,  T  I 

Art  Department:  Art  Director,  Jack 
Maxsted;  Assistant  Art  Director  (Set), 
Len  Townsend;  Draughtsmen,  H. 
Pottle  (Chief),  Tony  Rimmington. 
Peter  Lamont,  Bob  Eadie;  Dre 
Designer,    Joan    Ellacott. 

Editing  Department:  Editor,  John 
Guthridge;  Assembly  Cutter,  Jim 
Kelly;  Other  Assistant,  Maureen 
Howard;  Dubbing  Editor,  Roger 
Cherrill;  Dubbing  Assistants,  Stan 
Fiferman,    Peter   Pennell. 

Production  Department:  Production 
Manager,  Fred  Swan ;  1st  Assistant 
Director,  Peter  Manley;  2nd  Assis- 
tant Director,  Tat  Clayton;  3rd  Assis- 
tant Director,  Ron  Jackson:  Con- 
tinuity, Penny  Daniels;  Production 
Secretary,   Pauline  Davies. 

Stills  Department:  Still  Camerama  1, 
Charles  Trigg. 

Special  Processes:  W.  Warrington 
Bert  Marshall,  C.  Culley,  Syd  Pear- 

Unit  Publicist:    Bob  Herrington. 


Year  of  Production:    1957. 

Studio:     Walton. 

Laboratory      Kays 

Producing  Company:    Winwell   Prod  11 
tions  Ltd. 

Producers:      Bill     Luckwell,     D.     E.     A. 

Stars:     Ron    Randell,    Greta   Gynt. 

Director:    Arthur  Crabtree. 

Screenplay:    Bill  Luckwell,  Len  Town, 

Camera  Department:    Lighting  Cami 
man,   James   Harvey:    Camera   Opera 
tor,     Desmond     Davis:      1st      Camera 
Assistant       1  Focus).       Manny       Vosoa  : 
other   Camera   Assistant,    Petei     Ma 

Sound  Department  Recordist  (Mixer) 
Bernie  Brown;  Sound  Camera  Opera 
lor.  Aubrey  Lewis;  Boom  Operator, 
Kevin  Sutton;  Sound  Maintenance 
Charles  Earl. 

Art     Department:      Art     Director,     John 


l-'il'tuni       Department:        Editor      John 
Ferris;   1st   Assistant.  Lollette  Currie. 

Production  Department:  Production 
Manager  and/or  Unit  Production 
Manager,  Clive  Midwinter;  1st  Assis 
tant    Director.    Stanlej    Goulder;    2nd 

A     istant    Direct  or,  T<  m  Wallis;  Con- 
tinuity,    Peggy  Anderson;   Produ   ti 
Seci  1  I  an  Attrill. 

stills    Departm   nt       Still    Cameraman, 
Cyril   Stanborough. 


Y<  'if  of  Production:    1956   7. 

Studio:    Shepperton  Studios. 

/ , nh in  atoi  a     11  umphries. 

I'i  mlii,  mo  Company:  John  Harvel 
Product  ions  Ltd. 

Producers:  Frank  Launder  and  Sidnev 

Associate    Producer:     Leslie    Gilliat 

Stars:  Jack  Hawkins,  Arlene  '  ahl 
Dennis  Price,  Ian  Hunter,  Bernard 

Director:    Sidney  Gilliat. 

Scenarists:  Sidney  Gilliat.  Frank 
Launder    and    Val    Valentin. 

Camera  Department:    Lighting  Camera 
man,  Gerald  Gibbs;  Camera  Operator, 
Alan     Hume;     1st     Camera     Assistant 
(Focus),       Godfrey       Godar;       Other 
Camera    Assistant,    Ian   Muir. 

Sound  Department:  Recordist  (Mixer), 
John         Aldred ;  Sound         Camera 

Operator,  Desmond  Edwards;  Boom 
Operator.  Charles  Wheeler;  Other 
Assistant  (Maintenance),  Georgi 
Widdows;  Dubbing  Crew.  Red  Law. 
Paddy    Cunningham. 

Art  Department:  Art  Director,  Wilfrid 
Shingleton;  Assistant  Art  Director. 
Frank  Wilson;  Draughtsmen.  Martin 
Atkinson  and  Mrs.  James  Levis: 
Set  Dresser.  Kenneth  Bridgeman : 
Dress   Designer,   Anthony   Mendleson. 

Editing  Depart  mint:  Editor,  Geoffrey 
Foot;  1st  Assistant.  Michael  Hart; 
Other  A  sistants,  Marcel  Durham, 
Alan  Corder.  Charles  Morgan : 
Dubbing  Editor.   Chris   Greenham. 

Production  Department:  Production 
Manager  and/or  Unit  Production 
Manager,  Roy  Parkinson:  1st  Assis- 
tant Director.  Douglas  Hermes;  2nd 
Assistant  Director,  Peter  Price;  3rd 
Assistant  Director,  Roy  Baird;  Con- 
tinuity, Phyllis  Crocker;  Production 
Secretary,   Cynthia  Maugham. 

Stills  Department:  Still  Cameraman, 
John  Jay. 

Special  Processes:  Wally  Veevers, 
George  Samuels. 

Publicity         Department  Publicity 

Director,    Robin    Grocott. 


)',  ar  of  Production  :    195G. 

Studio      Nettlefold  Studios,  Walton-on 

Laboratory:    Kays  Laboratories. 
Producing    Company:      Butcher'       Film 

Productions  Ltd. 
Producer:    W.  G.  Chalmers. 
Stars:         Richard        Denning.        Carole 

liin  ,-lir        Marl'  ari    I  'oners. 

Icenarist:    Maclean  Rogers. 

Camera  Department  :     Lighting   Camel : 
man.    Ernie    Palmer:    Camera    Opera 
tor.  Nobby  Smith;   1st   Camera   Assis- 
tant   (Focus),  Eric  Williams 

Sound   Department:    Recordist    (Mixer), 
S.    Squires;    Sound    Camera    OperatOl 
A.      Lewis;      Boom      Operator,      Robin 
Clegg1    Dubbing    Crew,    :  I  C  *      Ham 
mersmith;   Maintenance,  F.  Tomlin 

Art    !>•  partmt  n<       \r\    Director,    John 


Editing        Department:         Supervising 

Editor.      Peter      Mayhew;      Assistant 
Editor.   Ernie  Hosier. 

Production  Department  Production 
Manager  and/or  Unit  Production 
Manager,  Clive  Midwinter;  1st  Assis- 
tant Director.  Don  Wcrks:  2nd  Assis 
tant  Dire, tor.  Stanley  Goulder;  Con- 
tinuity. Yvonne  Richards:  Production 
Secretary,   Cynthia   Maugham. 

stills     Department:       Still     Cameraman 
Rickie  Smith. 


Y,  in  ni  Production      1957 

Melton     ' 

Laboratory :     Denham. 

Producing  Company      Anglo-Guild  Pro 

Producei       Ui     C    Snowden. 

Associati    I1,,, ii,,  1  1      j.   O'Connolly. 

stars.  Lee  Patterson,  Hy  Hazell,  Colin 
Gordon,  Philip  Li 

Director:     Montgomery    Tully. 

Si  1  narisi .    J.   Mai  lai  en  Ro 

Camera  Department:    Lighting  Camera- 
man, Philip  Grindrod;  Camera  Opera- 
tor.     Bernard      Lewis:      1st      Cat 
Assistant      (Focus),      Peter      J, 
Other  Camera  Assistants,  I.  M.  Millan. 

Sound  Department      Recordist    (Mi 
Keith   Barber:    Sound  Camei,     < 
tor,  Arthur  Vincent;    Boom  Operator, 
Tom     Otter:     Boom     Assistant,     Keith 
Pamplin;       Dubbing      Crew.      Re 

Art  Department:  Art  Director,  Wilfred 
Arnold:  Assistant  Art  Director, 
William  Holmes. 

Editing     Department:      Editor.     E) 
Hilton;        Dubbing       Editor.        Derek 

Production  Department:  Produ 
Manager,  William  Shore;  1st  Assis- 
tant Director,  Derek  Whitehurst; 
2nd  Assistant  Director,  Charles  Mans- 
bridge;  3rd  Assistant  Director,  John 
Kane  Archer, 

stills  Department:  Still  Cameraman, 
Frank  Otlev. 


Year  of  Production      1956. 

S'lulio:     Shepperton    Studios,    Middx. 

Laboratory:     Denham   Laboratories. 

Producing  Company:    Copa  Productions 

Executive   Producer:     T.    H.    Richmond. 

Producer:    John  R.  Sloan. 

Stars:     Tyrone    Power.    Mai    Zetterling, 
Lloyd  Nolan. 

Directors:       Richard     Sale:     2nd     Unit. 
D.  Eady. 

Scenarist:    Richard  Sale. 

Camera  Department      Lighting  Camera- 
man,   Wilkie   Cooper     Cat       a    1  1 
tor,  Ronnie  Taylor;   1st   Camera  Assis- 
tant    1  Focus),     Michai  1     Wil  oi      1 1 

Unit,  M.  Hyams);  Other  Camera 
Assistants,  R.  Etherington.  J.  Salis- 
bury, David  Griffiths;  Second  Unit 
Camera  Operator,   G.   W.   Kelly. 

Sound  Department  Recordist  (Mixet 
W.  S.  Salter;  Sound  Camera  Operator. 
H.  Tate;  Boom  Operators,  C  Wheeler 
and  C.  Hitchcock:  Other  Assistant 
("Maintenance),  George  Widdows: 
Dubbing  Crew.  Red  Law,  P.  Cun- 

Art  Department:    Production   Designer. 
Wilfrid     Shingleton:     Art     Director, 
Ray    Simm;    Assistant    Art     Dire< 
Frank  Willson 

Editing  Department:  Editor.  Raymond 
Poulton ;  Assembly  Cutter,  Valerie 
Leslie:  1st  Assistant.  Peter  Kei  1 
Other  Assistant.  Karen  He  ward: 
Dubbing  Editor.  Winston  1; 
Assistant  Dubbing  Editor.  P.  Mus- 

Production  Department:  "rode 
Manager  and /or  Unit  Production 
Manager.  R.  L.  M.  Davidson:  1st 
Assistant  Directors,  Basil  Keys  <-nd 
Unit.  P.  Crowhurst):  2nd  Assistant 
Dire, tors.  Albert  Pearl,  then  E.  W. 
Hill  and  David  Bracknell  ;  3rd  Assis- 
tant Directors.  E3.  W.  Hill,  then  .1  S 
Angus;  Location  Manager.  Martin 
Schute;  Continuity.  Betty  Forster: 
Production    Secretary,    Inez    Eiston 

Stills     Department:      Still     Cameramen. 
Eric    Gray    C.'nd    Unit      A.    Evansi. 

Special  Processes:    Wally  Veevers. 

Publicity         Department:  Publicity 

Director.    Catherine    O'Brien. 

Scenic      Artists         Gilbert      Wood.      J. 
Macky.    T.    Samuels.    Rasil    Manning 

May  1957 


'1*9  My^.m   of  Mcxjvfn  Aft 
&I3SARI       69 


A   Technician's  Notebook 


A  LONG  with  all  the  other  pheno- 
£*■  mena  of  spring  we  welcome 
once  again  the  British  Journal 
Photographic  Almanac  making  its 
98th  annual  appearance.  And  once 
again  we  marvel  at  the  prodigious 
amount  of  material  packed  into  so 
compact  a  volume. 

In  order  and  lay-out  the  con- 
tents follow  the  traditional  pat- 
tern; the  regular  Almanac  reader, 
I  think  it  is  true  to  say,  can  turn 
up  the  section  he  wishes  to  con- 
sult, if  not  blindfold,  at  any  rate 
without  looking  it  up  in  the  table 
of  contents. 

"  Physics  and  Metaphysics  " 

First  come  the  special  articles 
headed  by  the  one  for  which  the 
editors  are  responsible.  This  year 
they  have  taken  as  their  subject 
"  Physics  and  Metaphysics  in 
Modern  Photography  ",  a  brief  but 
nevertheless  fascinating  survey  of 
the  part  played  by  photography, 
allied  with  techniques  such  as 
electron  microscopy,  X-ray  crystal- 
lography, etc.,  etc.,  in  the  revela- 
tion of  facts  and  phenomena  that 
lie  beyond  the  reach  of  unaided 
human  vision. 

There  are  four  other  more 
specialised  articles  by  Keith 
Hornsby,  Bernard  Alfleri,  W.  S. 
Sharps,  and  George  Ashton,  who 
deal  respectively  with  developer 
replenishment,  wild  flower  photo- 
graphy, photography  and  tele- 
vision, and  the  use  of  filters  in 
colour  photography. 

Abstracts  from  articles  pub- 
lished during  the  past  year,  mostly 
in  the  British  Journal  of  Photo- 
graphy, are  grouped  together 
under  the  heading  Epitome  of  Pro- 
gress. Reviews  of  new  apparatus 
and  materials  occupy  over  a 
hundred  pages  and  form  a  useful 
buyers'  guide. 

The  lists  of  sensitised  materials 
for  colour  and  black-and-white 
still  photography  and  sub-standard 
cinematography,  with  data  relat- 
ing to  speed,  availability,  suitable 
developers,  etc.,  have  been  brought 
up  to  date.  The  list  of  colour 
materials  is  particularly  compre- 
hensive, covering  as  it  does,  all 
known  processes. 

The  section  dealing  with  colour 

photography  technique  contains 
the  latest  information  in  the  pro- 
cesses   available    in    this    country, 


A.  E.  Jeakins 

with  instructions  for  user  pro- 
cessing Agfacolor,  Ferraniacolor 
and  Gevacolor  reversal  and  Euro- 
pean colour  materials  and  colour 
papers.  There  is  also  a  very  use- 
ful list  of  colour  balancing  and 
colour  temperature  correction 

New  this  year  is  a  nine-page 
section  which  deals  with  "  the  con- 
fused situation  surrounding  elec- 
tronic flash  factors  and  developing 
times  ",  and  includes  tables  for  the 
principal  units  and  sensitive 
materials   available  here. 

The  glossary  of  technical  terms, 
the  list  of  books  dealing  with  the 
history,  technique  and  applications 
of  photography,  the  directory  of 
repairers,  the  formulae  are  all 
here,  and  dozens  and  dozens  of 
other  items  for  the  information 
and  guidance  of  the  photographer, 
far  too  numerous  to  catalogue 

One  must,  however,  mention  the 
pictorial  supplement  with  its 
thirty-two  examples  of  work  in 
various  styles  from  photographers 
all  over  the  world  excellently  re- 
produced in  photogravure. 

The  British  Journal  Photographic 
Almanac  is  edited  by  Arthur 
Dalladay  and  published  by  Henry 
Greenwood  and  Co.  Ltd.,  London. 
It  sells  for  6/-  or  8/6  according  to 
whether  you  choose  board  or  cloth 
binding,  and  it's  excellent  value 
for  money,   either  way. 

Sharps'  Colour  Chart 

"  How  will  that  green  photo- 
graph? " 

"  Umm — a  sort  of  darkish  grey, 
I  imagine." 

A  chart  recently  published  by 
The  Fountain  Press  ought  to  make 

it  possible  to  give  a  more  precise 
answer  to  that  question. 

"  Sharps'  Colour  Chart  and  Grey 
Scale  ",  to  give  it  its  correct  title, 
should  prove  a  valuable  aid  to  the 
art  director,  cinematographer, 
photographer,  in  fact  anybody, 
whether  he  works  in  films  or  tele- 
vision, who  is  interested  in  know- 
ing how  colours  will  reproduce  in 

The  chart  consists  of  a  ten-step 
grey  scale,  a  set  of  four  cards  on 
which  are  printed  a  series  of  32 
colour  patches  abstracted  from  the 
Wilson  Colour  Chart,  and  a  colour 
conversion  table.  From  this  table 
it  is  possible  to  find  out  the  grey 
scale  equivalent  of  any  of  the  32 
colours  on  the  cards,  as  it  will  re- 
produce, not  only  in  the  standard 
Kodak  and  Uford  emulsions,  but 
also  on  Image  Orthicon  and  Photo 
Conductive  TV  camera  tubes,  by 
daylight   and   tungsten. 


The  matching  of  the  colours  to 
the  grey  scale  was  carried  out  by 
practical  tests  with  the  emulsions 
and  television  camera  tubes.  Any- 
one who  wishes  to,  can,  of  course, 
use  the  grey  scale  to  make  his  own 
tests  with  colours  other  than  those 
in  the  chart.  The  publishers  state 
that  they  are  prepared  to  arrange 
for  the  supply  to  order  of  colours 
not  included  in  the  standard  set. 

It  is  worth  noting  the  warning 
that  coloured  materials  which  con- 
tain dyes  that  reflect  light  outside 
the  visible  spectrum  and  to  which 
the  TV  tubes  and  films  are  sensi- 
tive, may  produce  different  results. 

"Sharps'  Colour  Chart  and  Grey 
Scale  "  is  compiled  by  Wallace  S. 
Sharps  and,  as  I  mentioned  above, 
is  published  by  The  Fountain 
Press,  London.     The  price  is  19/6. 

Last  month  reporting  on  the 
P.F.P.  gate  for  the  Arriflex 
camera,  I  said  that  an  adjustment 
might  have  to  be  made  to  it  when 
using  thicker  film  stocks  like 
Eastmancolor.  I  am  informed  that 
this  is  not  correct  and  that  East- 
mancolor has  been  used  success- 
fully with  the  prototype  gate. 



May  1957 



A  CALL  for  the  rationalisation  of  the  British  Film  Industry  was  made 
'  *  by  Mr.  John  Davis,  Managing  Director  of  the  J.  Arthur  Rank 
Organisation,  at  the  summer  conference  of  the  Cinematograph  Ex- 
hibitors' Association  earlier  this  month. 

Among  the  questions  which  he  reviewed  were  the  shrinking  supply 
of  Hollywood  films,  the  advantages  to  the  Industry  of  a  European 
Common  Market,  contraction  in  the  number  of  cinemas  operating,  and 
the  need  for  drastic  overhaul  of  methods  of  distribution.  He  also  stressed 
the  need  for  a  combined  trade  organisation  representing  all  sides  of 
the  Industry. 

In  view  of  the  importance  of  these  proposals  to  all  workers  in  the 
industry  we  print  below  an  extended  summary  of  Mr.  Davis's  speech  on 
which  we  also  comment  editorially  on  page  67. 

Mr.  Davis  took  as  his  text  an 
article  in  the  Financial  Times  in 
which  the  following  statement 
appeared : 

"  The  Cinema  Industry  is  having 
to  adapt  itself  to  a  situation  in 
which  it  has  lost  its  monopoly  of 
mass-produced  visual  entertain- 
ment. Recent  experience  has 
shown  that  the  right  sort  of  film 
can  still  attract  capacity  crowds, 
but  the  time  has  gone  when  people 
will  watch  indifferent  perfor- 
mances to  pass  the  time.  The  ad- 
justment to  the  new  situation 
must  be  painful;  there  may  have 
to  be  better  programmes,  and  the 
trend  towards  elimination  of  the 
smaller  marginal  cinemas  may 
continue.  But  once  the  readjust- 
ment is  over,  there  is  no  reason 
why  cinemas  should  not  take  their 
place  as  a  permanent  and  profit- 
able part  of  the  entertainment 

Cold  Economic  Winds 

How  many,  Mr.  Davis  asked,  are 
prepared  to  face  the  facts  and  re- 
adjust not  only  methods  of  opera- 
tion of  the  individual,  but  in  addi- 
tion, participate  in  changes  which 
must  take  place  in  the  operation 
of  the  industry  as  a  whole? 

At  least  until  a  year  or  so  ago, 
Mr.  Davis  went  on,  the  Industry 
was  very  prosperous.  A  pros- 
perous industry  was  vulnerable 
since  it  was  often  reluctant  to  face 
up  to  facts.  "  It  is  the  cold  econo- 
mic winds  which  ultimately  force 
an  industry  to  re-adapt  itself. 
These  conditions  have  been  with  us 
for  some  years,  but  many  people 
have  tried  to  avoid  facing  the  issue 
—  until  now  when  they  can  avoid 
it  no  longer." 

Entertainments  Tax  relief  was 
not  the  solution  to  many  of  the 
Industry's  problems.  However  un- 
pleasant it  might  be,  he  held  the 
view  that  no  final  solution  to  these 
problems  would  have  been  found  if 
a  much  larger  amount  of  relief 
had  been  granted  this  year. 

Move  from  Hollywood 

Reviewing  the  changing  pattern 
of  the  Industry  Mr.  Davis  said  he 
believed  a  situation  was  develop- 
ing as  a  result  of  which  the  main 
source  of  production  would  move 
from  Hollywood.  The  trend  of  film 
production  in  the  United  States 
over  the  last  year  or  so  had  shown 
a  material  change  aggravated  by 
financial  battles  for  control  of 
some  of  the  great  corporations.  An 
industry  in  difficulties  did  not 
easily  attract  new  money  and  new 
brains,  both  of  which  were  needed 
in  great  quantities. 

"  In  my  view,"  Mr.  Davis  said, 
"  we  are  going  to  be  faced  with 
an  American  product  shortage  for 
some  considerable  time,  if  not  for 

Strong  Home  Industry 

"  At  home  a  strong  production 
industry  will  be  permanently  de- 
veloped, making  films  of  high  en- 
tertainment value  with  an  eye  on 
both  domestic  and  world  markets. 
Entertainment  supply  will  become 
more  and  more  on  a  global  basis, 
and  if  our  producers  grab  the 
opportunity  British  Production  will 
play  an  increasingly  important 
part  in  the  world." 

This  would  envisage  a  consider- 

able portion  of  programmes  being 
made  up  of  foreign  language  films 
which  had  been  subsequently 
dubbed  into  English.  In  the  past 
the  huge  supply  of  American  films 
had  made  it  possible  to  avoid  the 
necessity  of  looking  for  the  best 
of  the  European  and  South  Ameri- 
can product  but  now  the  smaller 
Hollywood  supply  provided  the 
opportunity  for  foreign  language 
producers  to  extend  their  activities 
in  this  country.  They  must  do 
much  to  help  themselves  and  not 
expect  British  interests  to  do  all 
their  work  for  them. 

European  Common  Market 

"  This  is  the  opportunity  for 
theatre  owners  to  exploit  these 
films  and  assist  in  securing  for  all 
films  an  international  audience,  at 
the  same  time  increasing  the  sup- 
ply of  films  on  which  the  exhibitor 
can  draw." 

Mr.  Davis  said  that  this  raised 
the  issue  of  the  European  Common 
Market  which  he  believed  would 
be  in  the  long-term  interests  of 
this  country.  From  the  standpoint 
of  a  film  producer  the  European 
Common  Market  would  give  the 
opportunity  of  securing  a  basic 
market  of  a  size  comparable  with 
that  of  the  American  domestic 
market.  This  would  give  pro- 
ducers in  this  country  and  over- 
seas the  opportunity  of  producing 
films  of  broader  appeal  with  an 
eye  to  the  big,  basic  domestic 
market.  In  this  way  one  of  the 
producer's  problems,  the  problem 
of  the  small  domestic  market, 
should  be  removed  and  better  films 
in  greater  numbers  should  flow 
from  such  a  development. 

Reciprocating  Quota 

"  This  development  ",  Mr.  Davis 
added,  "  will  create  a  situation 
which  may  horrify  you,  the 
thought  that  there  would  have  to 
be  a  quota  for  films,  not  just 
British  films,  but  European  films 
covering  the  countries  of  the  Euro- 
pean Common  Market.  Let  us  be 
under  no  delusion,  reciprocating 
quotas  must  be  granted  in  the 
Common  Market  for  British  films." 

Mr.  Davis  then  went  on  to  dis- 
cuss the  possibilities  of  large- 
screen  television.  Scientists  were 
already  talking  about  world  tele- 
vision networks  operating  in  the 
next  ten  years.  "  We  must  organ- 
ise ourselves  ",  Mr.  Davis  said,  "  so 
that  we  participate  in  these  new 
developments.  European  and  world 
networks  with  large  screens  cer- 
tainly open  up  new  sources  of 
supply   of   entertainment   and   new 

May  1957 



methods  of  presentation  such  as 
an  extensive  use  of  world  actuali- 

Turning  to  the  question  of  com- 
petition from  television  Mr.  Davis 
said  that,  from  the  point  of  view 
of  the  Film  Industry,  the  public 
felt  that  they  received  from  tele- 
vision a  large  quantity  of  free  en- 
tertainment. This  made  it  un- 
attractive for  the  public  to  go  and 
see  average  films  when  something 
similar  to  the  average  film  could 
be  obtained  in  the  home,  appar- 
ently free.  Thus  only  important 
films  of  high  entertainment  value 
were  of  interest  to  the  public. 

"  Piped  or  Coin-in-the-Slot  tele- 
vision will  certainly  come.  I  am 
convinced  that  it  will  be  used  in 
the  foreseeable  future.  Will  the 
industry  use  it?  Surely  the  in- 
dustry must  and  can  harness  it  for 
its  own  benefit?  ". 

Competition  for  Leisure 

People  today  had  more  leisure 
time  and  the  more  leisure  they 
had  the  greater  was  the  competi- 
tion for  it  by  all  providers  of 
entertainment,  be  it  television, 
radio,  the  ballet,  music,  sport, 
motor-cars  or  films,  and  one  of  the 
greatest  competitors  for  that 
leisure  time  was  the  motor-car. 

With  this  increased  leisure  the 
public  would  become  more  selec- 
tive in  its  tastes  and  audiences 
would  no  longer  be  prepared  to  go 
to  the  cinema  unless  they  were 
offered  not  only  good  entertain- 
ment but  adequate  facilities  and 
comfort  under  which  to  see  the 

In  Mr.  Davis's  view  the  facilities 
in  many  cinemas  were  not  ade- 
quate today.  "  Theatres  not  in 
first-class  condition  must  be  closed 
or  alternatively  rebuilt  to  the 
latest  and  most  modern  standards 
of  comfort  and  projection,  etc." 


"  But  in  my  view ",  Mr.  Davis 
added,  "  nothing  can  stop  a 
material  contraction  in  the  number 
of  cinemas  operating  in  the  Wes- 
tern world.  The  present  limited 
supply  of  pictures  and  the  chang- 
ing competitive  conditions  in  the 
mass  entertainment  market  will 
bring  about  the  closing  of  many 
theatres;  only  those  with  good 
earning  potential  will  be  retained." 

While  a  most  careful  rationali- 
sation in  theatres  was  essential  it 
was  also  necessary  to  overhaul  the 
present  methods  of  distribution 
which  were  obsolete  and  unneces- 
sarily complicated.     The   Industry 

must  materially  reduce  the  cost  of 
distribution  which  was  far  too 
high,  not  only  in  this  country  but 
world-wide.  This  must  involve  a 
common  servicing  organisation 
separate  from  any  one  company 
and  divorced  from  selling,  to 
handle  the  physical  side  of  distri- 

Scrambled  TV  Network 

Looking  further  ahead  Mr.  Davis 
believed  the  time  would  come  when 
films  would  be  distributed  either 
through  the  medium  of  tape,  wire 
or  through  a  television  scrambled 

No  side  of  the  industry  could 
exist  successfully  without  the  suc- 
cess of  all  sides.  It  was  essential 
to  work  out  methods  of  increasing 
box-office  returns.  Producers  must 
have  the  opportunity  of  earning 
maximum  returns  on  important 
entertainment  films.  They,  on 
their  side,  must  use  imagination  to 
keep  costs  down  and  to  make  films 
which  would  satisfy  the  changing 
tastes  of  the  public. 

"  I  have  already  intimated  that, 
in  my  view,  a  contraction  in  the 
quantity  of  film  must  continue. 
The  unanswered  problem  is  the 
speed  of  this  contraction.  In  addi- 
tion there  is  already  a  permanent 
reduction  in  the  supply  of  second 
features  and  other  supporting  film. 
Ultimately  the  programme  will  be 
reduced  to  single  features  which 
may  lead  to  a  change  in  present 
public  tastes  for  the  continuous 

One  Trade  Organisation 

At  the  present  time  the  Industry 
had  over  sixty  trade  associations 
with  an  annual  operating  cost  in 
excess  of  £250,000.  It  should  set 
up  a  combined  trade  organisation 
at  the  top  of  which  there  should 
be  an  executive  council  presided 
over  by  an  independent  chairman 
having  no  connection  with  any 
side  of  the  Industry.  Under  this 
executive  there  should  be  com- 
mittees representing  each  section 
of  the  industry.  Such  an  organisa- 
tion would  facilitate  the  sorting 
out  of  the  problem  for  the  creation 
of  the  successful  pattern  of  the 

"  We  must  have  rationalisation 
in  our  industry.  The  closure  of 
the  uneconomic  unit  will  come, 
taking  into  account  whether  the 
unit  is  uneconomic  because  it  is 
redundant  or  whether  it  is  un- 
economic because  it  is  in  poor  con- 




YV7E  have  received  from  the  Syn- 
"  dicat  des  Techniciens  de  la 
Production  Cinematographique, 
the  French  film  technicians'  Union, 
a  copy  of  resolutions  passed  at 
their  Annual  General  Meeting  held 
on  March  10th,  1957. 

A  series  of  demands  were  made 
concerning  the  Social  Service 
scheme.  These  included  the 
adaptation  of  the  scheme  to  the 
casual  nature  of  film  technicians' 
employment,  a  revision  of  the 
points-calculation  for  pensions, 
and  an  improvement  in  health  and 
safety  precautions  in  studios.  The 
resolution  stated  that  health 
standards  in  the  industry  had  de- 
teriorated alarmingly,  partly  as  a 
result  of  the  speed-up  of  produc- 
tion over  recent  years,  and  ended 
by  demanding  the  resumption  of 
discussions  on  the  re-establish- 
ment of  the  5-day  working  week. 

Separate  Union 

French  television  technicians  are 
organised  in  a  separate  union,  the 
Syndicat  des  Techniciens  du  Spec- 
tacle Televise,  but  this,  like  the 
S.T.P.C.,  is  affiliated  to  the 
National  Entertainment-workers' 
Federation,  and  the  two  unions 
work  together  on  matters  of  com- 
mon policy.  The  last  resolution  of 
the  S.T.P.C.  meeting  gave  strong 
support  both  to  their  own  Direc- 
tors' Section  and  to  S.T.S.T.  in 
their  defence  of  the  moral  rights 
of  creative  workers  in  the  products 
of  their  labour  and  especially  in 
opposing  the  "Producers'  Charter" 
drawn  up  by  the  International 
Federation  of  Film  Producers' 

Management  Criticised 

The  resolution  further  criticised 
the  attitude  of  the  management  of 
French  Radio  Television  to  Trades 
Union  agreements  and  protested 
against  attempts  by  the  same 
management  to  exclude  film  tech- 
nicians from  television  production. 
On  this  latter  subject,  it  instructed 
the  Executive  of  S.T.P.C,  in  col- 
laboration with  S.T.S.T.,  to  take 
all  necessary  action,  including  a 
publicity  campaign,  to  further  the 
possibilities  for  fruitful  collabora- 
tion in  the  television  field  between 
technicians  of  the  two  unions. 




May  1957 

Win  Min  Than  had  never  seen  tele- 
vision until  she  came  to  England  to 
co-star  with  Gregory  Peck  in  'The 
Purple  Plain'. 

"We  do  not  have 
television  in  Burma  " 
she  says,  "hut  then 
we  are  a  naturally 
happy  people!" 

We  have  invited  QUENTIN  LAWRENCE,  of  A.C.T.T.'s  Television  Producer-Directors'  Section,  to  <•(  ntribute 
occasional  articles  on  various  technical  aspects  of  television  production.     He  opens  in  this  issue  with  a  subject 

of  never-ending-  controversy. 

Film  or  'Live9? 

SINCE  this  journal  is  read  by  film 
and  television  technicians  alike, 
perhaps  it  would  not  be  inappro- 
priate to  devote  a  few  lines  to  a 
topic  on  which  controversy  rages 
unceasingly,  and  on  which  I  sup- 
pose the  last  word  will  never  be 
said;  I  refer  to  the  general  ques- 
tion of  "live"  versus  "film"  studio 
production  technique. 

Perhaps  the  word  "  versus "  is 
out  of  place;  the  two  techniques 
are  not  of  course  competitive.  If 
one  has  to  make  a  film,  one  makes 
it  in  a  film  studio;  if  one  has  to 
do  a  live  production,  one  does  it 
live.  However,  the  end-product  is 
the  same — a  story  told  in  pictures 
on  a  screen  with  accompanying 
sound — and  sidelong  glances,  some- 
times envious,  sometimes  derisive, 
are  often  being  cast  from  one 
camp  to  the  other.  And  whichever 
one  is  engaged  in  one  cannot — or 
at  any  rate  should  not-  banish 
from  one's  mind  the  question  of 
how  the  other  medium  would  tackle 
the  same  problem. 

It  has  been  my  good  fortune  to 
divide  my  time  pretty  well  equally 

in  the  last  twelve  months  between 
active  direction  in  both  media,  and 
immediately  prior  to  that  I  re- 
ceived my  grounding  as  a  director 
in  the  much-discussed  High-Defini- 
tion venture,  a  true  hybrid  if  ever 
there  was  one.  Any  conclusions 
which  I  may  by  now  have  come  to 
are  therefore  based  on  fairly  com- 
prehensive practical  experience.  In 
point  of  fact  they  are  few,  but  in- 
teresting to  me  because  they  are 
so  diametrically  opposed  to  what 
I  expected  at  the  outset. 

By  the  same  rules 

The  raison  d'etre  of  the  High- 
Definition  project  was  the  applica- 
bility of  Television  production 
methods  to  film  making.  I  now 
find  myself  implacably  dedicated 
to  the  exact  complementary  idea, 
which  is  the  applicability  of  the 
basics  of  film  production  to  live 
Television.  It  never  ceases  to 
astonish  me  that  this  approach  is 
not  more  widely  canvassed  in  the 
grounding  of  training  of  Television 
directors.    To  have  once  mastered 

the  technique  of  directing  a  film  is 
to  be  provided  with  the  means  of 
solving,  by  the  same  rules  as  one 
learned  in  the  film  studio,  nearly 
every  problem  that  presents  itself 
in  the  planning  of  a  Television 

Ninety  per  cent  of  the  television 
director's  technical  problems  (ex- 
cept, of  course,  those  concerned 
with  writing  and  acting,  which 
must  come  first)  are  concerned 
with  where  to  place  the  camera, 
with  what  lens,  and;  when  and 
how  to  cut  from  one  shot  to  the 
next.  Now  if  one  is  capable  of 
participating  in  these  decisions  on 
the  studio  floor  and  in  the  cutting- 
room,  one  can  just  as  easily — very 
often  more  easily — make  them 
under  TV  production  conditions. 

Many  film  technicians  get  very 
bewildered  and  baffled  by  con- 
ditions in  a  TV  production  control 
room,  which  often  seems  to  re- 
semble the  bridge  of  a  destroyer 
under  fire  during  a  naval  battle. 
The  important  thing  to  remember 
about  this  is,  that  once  a  director 
climbs  into  the  "  gallery"  his  work 

May  1957 



is,  or  should  be,  finished.  He  is 
merely  watching  his  picture  being 
acted,  photographed,  edited  and 
dubbed — all  at  once!  He  has  only 
one  screen  to  watch;  the  others 
are  there  for  the  various  techni- 
cians who  need  them,  and  if  he 
has  done  his  work  properly  he 
should  be  able  to  watch  it  in 
reasonable  quiet  and  comfort  be- 
cause everyone  else  has  been  told 
— by  him — what  to  do  and  when  to 
do  it. 

Chaos  on  Screen 

The  director  who  does  not  pre- 
plan, who  tries  to  knit  together 
the  production  from  the  control 
gallery  by  watching  four  screens 
at  once,  manipulating  three 
cameras  "  off  the  cuff  ",  and  often 
even  giving  impromptu  directions 
to  the  wretched  actors  over  a 
loudspeaker,  gets  chaos  in  the  con- 
trol room — and  on  the  screen.  This 
latter  feature  he  never  really 
knows  about  because  he  is  too 

There  is  a  terrible  lot  of  non- 
sense talked  about  the  special  nature 
of  Television.  There  is  absolutely 
no  fundamental  difference  between 
a  live  Television  production  and  a 
film  of  the  equivalent  story.  I 
hold  the  view  that  the  only  way  to 
plan  a  live  Television  sequence  is 
to  imagine  how  one  would  shoot 
it  on  film  and  then  see  how  closely 
one  can  approximate  to  the  same 
result  using  multiple  cameras  and 
continuous  shooting.  And  it  would 
amaze  many  people  to  know  how 
often  one  can  get  very  near  to  the 
same  answer.  There  are  certain 
impossibilities  in  live  Television — 
for  instance,  when  cross-cutting 
on  dialogue  one  can  never  get 
round  as  near  to  the  mutual  eye- 
line  as  one  would  wish,  but  at  least 
if  one  understands  the  problem  one 
can  work  out  methods  of  coming 
pretty  close  to  the  ideal. 

Same  "  handwriting  " 

If  one  has  worked  for  any  length 
of  time  in  a  film  studio  one  in- 
evitably gets  to  know  what  sort 
of  set-ups  are  easy  to  light  well 
and  yield  good  photographic  re- 
sults. It  is  quite  astonishing  to 
find  that  if  one  uses  this  same 
"  handwriting "  in  a  Television 
studio,  one  finds  in  nine  cases  out 
of  ten  that  one  is  getting  Tele- 
vision pictures  of  truly  cinematic 
quality.  Television  lighting  men 
are  not  idiots.  Though  many 
people  think  they  are  and  can  be 
pardoned  for  thinking  so  because 
they  so  often  have  to  light  vir- 
tually       "  unlightable  "        set-ups, 

wished  on  them  by  a  director  who 
doesn't  realise  what  can  be  lit  and 
what  cannot. 

What  of  the  reverse  of  the 
coin  ?  What  can  the  film  techni- 
cian derive  from  Television  tech- 
nique? There  is  no  doubt  that  the 
one  big  advantage,  the  thing  that 
makes  Television  possible  (and 
also  makes  it  tremendous  fun)  is 
the  purely  psychological  factor  of 
going  "  on  the  air  "  at  a  set  time 
with  the  knowledge  that  several 
million  people  are  looking  in; 
which  gives  the  whole  operation, 
from  the  first  planning  conference 
or  rehearsal,  a  sort  of  tempo  which 
has  no  equivalent  in  film   produc- 


The  views  expressed  in  this 
article  may  be  technical  dyna- 
mite among  Television  Pro- 
ducers. We  hope  they  are. 
If  they  create  an  explosion  of 
contending  opinions  Film  and 
TV  Technician  wants  to  report 
it.  What  are  YOUR  views? 
Write  and  tell  us.  We  are 
waiting   for   the   "  big   bang  " ! 

tion  and  cannot  be  synthesised  by 
any  means. 

There  may  be  odd  technical  de- 
vices and  tricks  which  could  find 
a  place  in  film  production;  for  in- 
stance, do  film  sound  editors  and 
dubbing  mixers  know  about  the 
German  E.M.T.  gramophone  turn- 
tables which  A.T.V.  are  now  using 
for  cued  background  music  and 
effects?  These  are  capable  of 
running  -  up  virtually  instan- 
taneously on  a  selected  musical 
phrase  or  sound  effect  and  can  be 
very  simply  operated  to  an  accur- 
acy of  time  equal  to  all  but  the 
most  precise  track-laying.  Their 
use  in  the  dubbing  theatre  could 
save  time  in  the  cutting  room,  as 
well  as  eliminating  an  inter- 
mediate transfer  from  disc  to  film. 

Future  Articles 

I  hope  that  in  future  articles 
other  devices  peculiar  to  Tele- 
vision but  with  possible  film  pro- 
duction applications  will  be 
described.  It  would  be  of  great 
help  in  the  planning  of  these 
articles  if  readers  would  write  to 
me,  c/o  Head  Office,  about  the  sort 
of  subjects  which  they  feel  should 
be  covered  in  this  feature. 

Quentin  Lawrence 

George  Elvin 

Members  will  be  glad  to  know 
that  George  Elvin  is  back  in  the 
saddle  having  made  a  complete 
recovery.  In  fact  he  seems  to  be 
at  the  very  top  of  his  form  and 
fighting  fit. 

"  From  what  I  see  after  my  first 
few  hours  in  the  office ",  George 
said  on  the  day  of  his  return  to 
work,  "  the  film  industry  and  its 
trade  unions  are  much  the  same  as 
before.  But  whether  they  are  or 
not,  I  want  to  let  you  know  that 
I  am  passed  as  completely  fit  and 
I  am  delighted  to  be  around  again. 
I  am  most  grateful  to  everybody 
within  A.C.T.T.,  from  Head  Office 
through  the  Shop  Stewards  to  the 
rank  and  file  for  showing  so  effec- 
tively during  the  past  seven 
months  that  it  is  all  nonsense  to 
claim  that  A.C.T.T.  was  anything 
like  a  '  one  man  show  '. 

A.C.T.T.    "  healthier    than   ever  " 

'A.C.T.T.  seems,  if  anything, 
healthier  than  ever.  I  look  forward 
to  meeting  the  members  again 
over  the  coming  months." 

Following  George's  return  Bert 
Craik,  who  so  magnificently  held 
the  fort  during  the  General  Secre- 
tary's absence,  is  taking  a  well- 
deserved  holiday.  All  members 
will  wish  him  an  enjoyable  rest 
and  will  thank  him  for  the  sterling 
work  he  did  in  George's  absence. 


The  growth  of  television  is  to  be 
reflected  in  the  programme  for 
this  year's  Edinburgh  Film  Fes- 
tival which  is  being  held  from 
August  18th  to  September  8th. 
Plans  include  an  international  con- 
ference on  the  production  and  use 
of  documentary  film  in  television. 
There  will  also  be  discussions  of 
plans  for  the  international  ex- 
change of  television  film  material. 

M.  Henry  Cassirer,  head  of  the 
Television  Branch  of  U.N.E.S.C.O., 
is  drafting  a  programme  for  the 
conference  which  will  attract  film 
and  TV  experts  from  many 

A  Festival  conference  on  the  use 
of  television  in  education  is  being 
planned  by  the  Scottish  Educa- 
tional Film  Conference  Committee. 



May  1957 


A  -  Bomb     •     Third  Programme     •     Entertainment  Tax 

/^OMING  events,  they  say,  cast 
^J  their  shadows  before  them,  and 
with  a  jolt  I  realised  the  deep 
truth  of  this  corny  old  saying, 
when  I  was  privileged  to  go  to  a 
special  showing  of  a  most  moving 
new  documentary  film  that  has 
just  been  re-edited  over  here.  The 
picture  comes  from  far-away 
Japan,  but  there  is  nothing 
quaintly  oriental  about  it,  for  it 
shows  in  ordinary  human  terms, 
understandable  to  any  nationality, 
exactly  what  are  the  effects  today 
of  the  atomic  bomb  that  fell  on 
Hiroshima  and  Nagasaki  nearly 
twelve  years  ago. 

No  Bitterness 

The  makers  of  this  film  do  not 
dwell  on  the  past,  and,  believe-it- 
or-not,  they  show  no  bitterness 
against  those  who  dropped  those 
terrible  bombs.  The  effects  of 
radiation  from  these  bombs  and 
from  the  Bikini  H-bomb  test  of 
1955  are  still  today  killing  people 
in  Japan,  but  this  shadow  on  the 
bright  face  of  the  inhabitants  is 
shown  by  the  film  to  be  a  warning 
against  the  hydrogen  bomb  tests 
that  the  great  nations  are  still  con- 
tinuing. The  film's  title  is  The 
Shadow   of  Hiroshima. 

A.C.T.T.  put  down  a  resolution 
on  the  subject  of  H-bombs  and  the 
genetic  effects  of  the  tests  for  the 
Women's  T.U.C.  at  Hastings,  and 
when  our  delegate  Mrs.  E.  J. 
Wallis  told  the  conference  that 
the  Women's  Advisory  Committee 
had  ruled  it  out  of  order,  there 
were  some  angry  clashes  with  the 
platform.  In  a  way  the  Advisory 
Committee  was  right  in  saying 
that  the  conference  could  only  deal 
with  women's  problems — the  H- 
bomb  tests  concern  men,  women 
and,  most  particularly,  children — 
but  their  "  Out  of  Order  "  decree 
seems  most  bureaucratic. 

If  The  Shadow  of  Hiroshima  had 
been  shown  to  them  first,  I  am 
sure  they  would  have  realised  the 
importance  of  everyone  freely  dis- 
cussing the  problem,  for  this  22- 
minute  film  is  of  enormous  assis- 
tance in  graphically  bringing  home 
the  truth  of  the  hazards  to  the 
world   of  nuclear  tests. 

I  wish  those  abusive  people  who 

think  it  clever  to  call  intellectuals 
names  would  make  up  their  minds. 
One  moment  intellectuals  are  re- 
ferred to  as  "  the  long-haired 
boys  ",  and  then  their  critics  go  to 
the  other  extreme  and  call  them 
"egg-heads"!  This  silly  talk  is 
really  nothing  more  than  envy,  and 




its  inverted  snobbery  always 
strikes  me  as  especially  vulgar 
when  relatively  intelligent  people 
are  dismissed  as  "  Third  Pro- 
gramme types  ". 

Perhaps  it  is  part  of  the  British 
habit  of  running  down  the  things 
that  foreigners  admire  most  about 
us.  I  have  often  noticed  how 
friends  from  America  have  gone 
into  rhapsodies  over  our  BBC 
Third  Programme,  now  so  sadly 
curbed  by  Sir  Ian  Jacob  on 
grounds  of  economy.  ("It  might 
mean  small  reductions  in  staff ", 
added  Sir  Ian).  Despite  some  irri- 
tatingly  pretentious  material  on 
occasions,  the  Third  has  pioneered 
remarkably  enlightened  pro- 
grammes, as  well  as  catering  for 
the  ever-growing  public  that 
enjoys  serious  concerts  and  operas, 
and  does  not  want  them  packaged 
in  half-hour  periods. 

Deserved  Wider  Audience 

Many  of  the  experiments  on  the 
Third  that  have  deserved  a  wider 
audience  have  been  "  promoted  " 
to  the  Home  or  Light  for  repeats, 
which  is,  surely,  a  high  tribute. 
Those  who  were  so  vociferous  in 
demanding  commercial  TV  as  an 
alterative  programme  to  BBC 
television  have  been  strangely 
silent  during  the  controversy  over 
the  Third;  but,  really,  the  same 
principle  of  giving  the  public  as 
much  choice  of  listening  as  pos- 
sible applies;  restricting  the  Third 
to  the  awkward  hours  of  8  to 
11  p.m.  prevents  so  many  people 
enjoying  it  when  they  want  to,  for 

the   question   of  choice   is  the   im- 
portant one. 

For  a  great  and  progressive 
people  with  ambitions  to  go  for- 
ward it  is  not  enough  that  the 
Third  programme  should  only  be 
allotted  three  hours  a  day,  while 
the  Light  and  Home  together  get 
ten  times  as  much. 

I  have  left  to  the  last  the  aspect 
that  affects  us  most  directly  as  a 
Trade  Union.  If  economies  are 
the  order  of  the  day,  not  only  are 
regular  employees  of  the  BBC 
threatened,  but  also  those  long- 
suffering  free-lance  members  like 
writers,  who  scrape  a  living  in  the 
media  of  radio,  television  and  film, 
will  find  it  even  more  difficult.  I'm 
all  for  changes  at  the  BBC,  but 
this  one  is  retrogressive  and  ought 
itself  to  be  changed. 

Predictions  Correct 

The  only  thing  that  pleased  me 
about  the  Budget  was  that  the 
predictions  I  made  in  February 
proved  correct.  I  wrote  then  that 
the  Government  would  not  be  very 
generous  to  the  cinemas  and  sug- 
gested that  "  cinema  Entertain- 
ment Tax  may  be  slightly  reduced, 
but,  to  make  up  for  this,  there  will 
be  some  form  of  tax  on  television." 
Last  month  the  Chancellor  of  the 
Exchequer  cut  cinema  duties  by 
£6,500,000  (the  industry  asked  for 
a  £21,000.000  cut),  and  increased 
the  combined  radio  and  TV 
licences  from  £3  to  £4,  which 
would  net  an  extra  £8,000,000  in  a 
full  year. 

The  total  abolition  of  Entertain- 
ment Tax  on  the  live  theatre  and 
sport  only  serves  to  emphasise  the 
iniquity  of  the  remaining  Tax  on 
cinema  tickets.  The  Federation  of 
Theatre  Unions  can  feel  pleased 
with  their  campaigning  over  the 
Tax  on  the  live  theatre,  and  their 
success  should  spur  us  on  to  com- 
bine with  the  other  film  Unions 
now  in  preparing  for  the  next 


A.C.T.T.  badges  and  brooches  can 
be  obtained  from  Head  Office. 
Badges  2/-,  brooches  2/4,  post  free. 

May  1957 



"Kemp's"— 1957 

Book  Reviews 

TORY, 1957  (10/6 — Free  to  British 
production  companies  and  Studio 

This  directory  includes  for  the 
first  time  a  Technicians'  Section 
for  which  A.C.T.T.  and  N.A.T.K.E. 
co-operated  with  the  publishers. 
Whether  you  want  to  find  a  com- 
poser for  a  TV  jingle,  buy  some 
cutting-room  equipment  or  hire  a 
police  car,  you  can  find  names, 
addresses  and  'phone  numbers 
listed  in  the  appropriate  cate- 
gories, which  are  conveniently  in- 
dexed at  the  end. 

In  New  Form 

This  is  the  first  issue  in  a  new 
form,  and  I  do  not  mean  to  be  dis- 
couraging to  the  publishers  in 
pointing  out  a  few  things  that 
seem  to  be  rather  strange.  If  you 
wanted  to  look  up  the  address  of 
A.C.T.  Films  Ltd.,  you  would  look 
in  vain  under  "  Producing  Com- 
panies— Feature  Films  ",  and  yet 
it  appears  in  a  number  of  such 
categories  as  the  producers  of  TV 
commercials,  cartoons  and  enter- 
tainment shorts.  Among  the  trade 
and  professional  associations  one 
cannot  find  the  E.T.U.,  the  Musi- 
cians' Union,  the  Children's  Film 
Foundation,  nor  the  Newsreel 
Association  to  mention  a  few.  How 
has  a  German  documentary  pro- 
duction company  with  a  Berlin 
address  crept  in  among  the  scores 
of  animated  and  cartoon  produc- 
tion companies? 

Our  Union's  name  is  printed  in 
two  different  ways — both  of  them 
wrong.  Such  errors  will,  no  doubt, 
be  corrected  next  year,  but  I  would 
suggest  to  the  Editor  that  he  in- 
cludes a  few  blank  pages,  where 
omissions  and  changes  of  address 
can  be  filled  in  by  the  owners  of 
the  Directory. 

Co-operation  Welcome 

Increased  members'  co-operation 
in  future  no  doubt  will  be  wel- 
comed by  the  publishers,  whose 
address  is  299-301  Gray's  Inn 
Road,  W.C.I. 

I  have  been  severe  in  criticism — 
but  only  in  the  spirit  of  being 
helpful  towards  a  most  valuable 
book,  whose  printing  is  beautifully 
clear  and  which  is  attractively 
bound  in  a  glossy  stiff  card  cover. 


Push-Bike  across  India 

The  Ride  to  Chandigarh,  by  Harold 
Elvin.     Macmillan,  25/-. 

"  When  India  in  the  partition  of 
'47  lost  half  the  Punjab  to 
Pakistan,  the  Indian  Punjab  lost 
its  capital,  Lahore.  So  now  they 
are  building  a  new  capital,  and 
they  are  doing  it  on  virgin  land, 
and  its  nearest  village  is  Chandi- 
garh and  hence  its  name.  I  just 
want  to  see  it." 

That  was  how  Harold  Elvin  ex- 
plained to  his  host,  an  Indian 
Salvation  Army  Major,  why  he 
was  starting  out  on  a  cycle  ride 
of  over  two  thousand  miles  across 
India  to  the  foot  of  the  Himalayas. 

"  And  this  city,  is  it  a  worth 
seeing  place  ",  the  Indian  asked. 

"  It  will  be.  It's  only  just  be- 
ginning. They  sent  for  four  of 
the  most  famous  architects  in  the 
world  to  design  it;  the  Frenchmen 
Le  Corbusier  and  Jeanneret,  and 
the  English  Maxwell  Fry  and  his 
wife  Jane  Drew  ". 

Threefold  Equipment 

"  The  Ride  to  Chandigarh  "  to 
see  "  the  vast  areas  of  nothing 
that  will  soon  be  something,"  is 
certainly  a  most  "  well  worth 
reading  book  ".  Harold  Elvin  had 
the  advantage  of  a  three-fold 
equipment  for  his  task.  In  the 
first  place  he  is  a  long-distance 
pedal  cyclist  on  a  truly  epic  scale. 
His  pilgrimages  on  two  wheels  had 
already  taken  him  to  Constan- 
tinople and  back  and  to  Leningrad 
and  back.  He  had  cycled  in  the 
cold  of  Lapland  as  well  as  in  ex- 
tremes of  heat. 

In  the  second  place  he  travels 
with  an  appreciative  eye  and  an 
appreciative  mind.  His  ride  across 
India  was  to  see  the  beginnings  of 
a  great  architectural  experiment, 
and  he  himself  has  had  an  archi- 
tect's training  and  worked  in 
architects'  offices.  On  top  of  that 
five  years  working  in  Elstree  Film 
Studios,  in  the  Art  Department 
and  as  Floor  Manager,  have  given 
him  an  artist's  appreciation  of 
people  as  well  as  places. 


Anyone  who  has  ever  worked  on 
a  film  with  an  eastern  setting  will 
appreciate  this  description  of 
Poona:  "  Sometimes  in  Hollywood 
they  make  a  street  scene  of  the 
East  and  they  go  round  scraping 
up    everything   from    every    studio 

lot,  from  buggy-carts  to  buffaloes, 
from  lechers  to  lepers,  from  rick- 
shaws even  to  trains,  and  sling 
them  all  in  as  if  tightly  stoppered 
up  into  twenty  short  yards  so  that 
the  hero  can't  get  down  the  street 

Peasant  Face 

[Still  by  Frank  Horvat 

without  being  lost  to  the  camera 
ten  times:  and  all  this  to  give  an 
impression  of  the  East.  But  here 
it  all  is!  But  ten  times  more 
packed  and  extending  for  miles, 
not  for  yards." 

And  then  a  note  of  burning  in- 
dignation creeps  into  the  descrip- 
tion, for  in  Poona  Elvin  found  not 
only  seething  life  and  colour  but 
also  "  stench  and  poverty  to  set 
the  whole  world  to  shame  that 
while  this  exists  they  dare  to  talk 
of  money  for  armaments." 

This  is  a  book  which  will  be 
enjoyed  by  anyone  who  wants  to 
know  about  the  places  and  the 
people  of  India  that  lie  off  the 
beaten  track  as  well  as  such 
famous     monuments    as     the     Taj 



(published  by  the  United 
Nations  Educational,  Scientific 
and  Cultural  Organisation, 
Paris,  1957,  in  English). 

For  some  of  our  members,  who 
go  on  foreign  locations,  the  thrill 
(Continued  on  page  76) 



May  1957 

Book  Reviews 


of  travelling  and  working  abroad 
may  have  lost  its  excitement  and 
novelty.  When  Greek  workers 
helped  build  the  temple  of  Baalbek 
and  French  masons,  working  for 
the  master-builder  William  de 
Sens,  built  Canterbury  Cathedral, 
they  may  not  have  realised  how 
their  labours  would  be  admired 
for  centuries,  though  they  must 
have  been  filled  with  a  wonderful 
spirit  of  adventure.  Maybe  these 
"  co-productions  "  of  bygone  days 
will  be  less  fleeting  than  the  works 
of  the  modern  travelling  film  tech- 

Exchange  Schemes 

This  booklet,  which  the  T.U.C. 
sends  us  with  its  commendation,  is 
intended  to  give  information  about 
schemes  for  the  exchange  of  young 
trainees  between  the  nations  of  the 
world;  in  some  cases  the  worker 
wants  to  spend  a  period  abroad  to 
improve  his  technical  skills,  and  in 
others  he  may  want  to  get  to  know 
the  people  of  another  country  by 
working  and  living  among  them. 
Workers  Abroad  shows  that  this  is 
also  of  advantage  to  the  respective 
employers  of  the  travelling 
journeymen  of  today. 

Just  as  one  is  beginning  to 
dream  of  exciting  and  educational 
adventures,  one  is  brought  back  to 
reality  by  the  statement: 

"  In  trades  where  considerable 
unemployment  has  been  known, 
and  where  the  union  has  built  up 
some  form  of  trade  security  for 
its  members ,  hesitancy  to  accept 
a  worker  from  abroad  is  per- 
fectly understandable ." 

That,  unfortunately,  is  just 
where,  despite  the  good  efforts  of 
UNESCO,  the  scheme  cannot 
really  apply  to  us  to  any  great 
extent,  and  this  is  an  additional 
crime  one  must  lay  at  the  door 
of  those  responsible  for  the  unem- 
ployment and  casual  work  in  the 
entertainment  industry,  because, 
while  unemployment  lasts,  there  is 
bound  to  be  suspicion  that  foreign 
workers  might   take  our  jobs. 

Fortunately,  there  have  been  a 
few  such  international  exchanges 
of  film  technicians  (though  not  on 
a  reciprocal  basis),  and  in  addition 
to  the  advantages  of  trainee  ex- 
changes, which  this  booklet  gives, 
I  would  stress  another:  for 
workers  to  get  to  know  their 
fellow  Trade  Unionists  in  other 
countries  will  greatly  help  to  build 
lasting  world  peace. 




The  British  premiere  of  Otto 
Preminger's  production  of  Bernard 
Shaw's  St.  Joan  is  on  Thursday, 
June  20th,  at  the  Leicester  Square 

Starring  in  the  film  are  Richard 
Widmark,  Richard  Todd,  Anton 
Walbrook  and  Jean  Seberg. 

As  we  announced  in  our  March 
issue,  Mr.  Preminger  has  gener- 
ously agreed  that  the  proceeds  of 
the  premiere  shall  go  to  the 
British  Film  Studio  Workers' 
Benevolent  Funds. 

Tickets,  price  £5  5s.  0d., 
£3  3s.  0d.,  £2  2s.  0d.,  £1  Is.  Od.  and 
10s.  6d.,  may  be  obtained  from: 
Mrs.  Madge  Clarke,  59  Stanhope 
Gardens,  Kensington,  London, 
S.W.7  ('phone  FREmantle  2285/6). 

A.  C.  T.  T. 

In  November  1955  Mr.  Frederick 
Slater,  one  of  our  members  em- 
ployed at  Technicolor,  was 
knocked  down  by  a  motor  car 
on  a  "  zebra  "  crossing  while  re- 
turning from  work  and  seriously 

A.C.T.T.,  through  their  solici- 
tors, took  up  Mr.  Slater's  case 
with  the  motorist's  insurance  com- 
pany and  have  been  able  to  obtain 
£525  compensation  for  Mr.  Slater, 
plus  all  costs. 

Mr.  Slater  writes:  "May  I  sin- 
cerely thank  you  for  the  great  help 
accorded  me  in  trying  to  get  a 
satisfactory  settlement.  ...  It  has 
been  a  great  relief  and  I  am  deeply 
obliged  for  all  the  assistance  I 
have  received." 


1957  Arriflex  Model  Ha 

complete  with   Blimp 

and   Power-Pack 

25  mm. 
32  mm. 
40  mm. 
50  mm. 
75  mm. 




18mm.  Cooke  Retrofocus  also  available 



FINchley  I  595 


"  Rock  Round  the  Clock,  which 
cost  only  $300,000,  is  reckoned  to 
recover  eight  times  over  its  cost." 
— Variety. 

Change  of  Theme 

President  of  Takimura  Produc- 
tions reports  that  in  an  "  effort  to 
increase  the  popularity  of  Japanese 
films  in  the  States,  they  intend  to 
use  contemporary  themes,  as 
opposed  to  the  ancient  themes  that 
have  been  great  successes." — Far 
East  Film  News. 

Who  cares  as  long  as  it  sells  ? 

"  It  may  be  a  soul-searing  drama 
of  violent  passion  or  a  highly- 
polished  bedroom  comedy,  with 
lots  of  lingerie;  but  whatever  it  is 
the  customers  will  lap  it  up.  For 
the  British  cinemagoer — bless  him 
— is  incurably  convinced  that  the 
lives  of  Europeans  are  infinitely 
more  inhibited  than  his  own,  so 
that  he  accepts  quite  easily  the 
most  extraordinary  behaviour  on 
the  part  of  characters  in  films. 
And  who  are  we  to  say  him  nay?  " 
— Michel  Williams,  "  Continentals, 
Answer  to  Product   Squeeze  ". 

Asian  Co-produotions  Increasing 

According  to  Dr.  Hoffmeister, 
a  member  of  the  Czechoslovakian 
cultural  delegation  to  India,  India 
and  Czechoslovakia  will  produce 
jointly  a  puppet  film.  He  said 
that  India  was  an  ideal  place  for 
producing  puppet  films  by  virtue 
of  its  rich  folklore. 

Also  to  be  co-produced  is  an 
Indian-Chinese  film  Under  the 
Blue  Sky;  this  is  to  be  shot  in 
China  and  Burma  and  directed  by 
a  team  of  Bengali  directors. 

Lewis  McLeod. 


Miss  Norma  Bremson,  daughter 
of  Mr.  and  Mrs.  Syd  Bremson,  was 
recently  married  to  Stan  Hawkes, 
a  fellow  stalwart  of  the  Editorial 
Section.  We  regret  that  in  our 
last  month's  issue  we  gave  the 
name  of  Miss  Bremson's  husband 
wrongly  as  Stan  Hughes.  Our 
apologies  and  wishes  for  every 
happiness  to  Mr.  and  Mrs.  Hawkes. 

May  1957 




Bill  Sharp  Retires 

Bill  Sharp,  known  to  many  of 
the  older  school  of  laboratory 
technicians,  has  been  retired  by 
A.B.  Pathe,  having  worked  for  the 
company  and  its  predecessors  con- 
tinuously since  1912. 

Frank  Fuller  writes: 

Of  late  his  health  has  not  been 
too  good,  bronchial  troubles  cur- 
tailing his  activities  considerably 
and  forcing  him  to  have  frequent 
spells  away  from   work. 

Looking  back  to  1912,  Bill  re- 
calls that  he  first  started  as  hypo 
boy  to  Jock  Gemmell  who  was 
then  the  developer.  Jock  needs  no 
introduction  from  me  having  been 
established  as  a  newsreel  camera- 
man as  long  as  I  have  known  him. 

Both  Bill  and  Jock  agree  they 
were  paid  in  gold  in  those  days. 
Bill,  taking  home  a  golden 
sovereign  at  the  end  of  the  week — 
15/-  wages  plus  overtime — still 
earned  more  than  his  father,  who 
had  a  large  family  to  support. 

World  War  I  saw  Bill  in  the 
Army,  serving  in  France  with  the 
23rd  London  Regiment.  Demobbed 
in  1919,  he  returned  to  Pathe  in 
time  to  work  on  the  newsreel 
covering  the  victory  parade  of 
that  year. 

Management  Sympathetic 

For  many  years  he  was  senior 
developer  at  Pathe  and  for  the 
last  six  years  was  put  in  charge  of 
the  positive  examination  depart- 
ment, a  move  made  in  the  hope  of 
benefiting  his  health.  One  must 
congratulate  the  management  for 
the  generous  and  sympathetic  con- 
sideration given  to  a  loyal  and  effi- 
cient worker  in  making  it  finan- 
cially possible  for  Bill  to  enjoy  a 
somewhat   premature    retirement. 

A  collection  made  among  the 
people  at  Elstree  and  Wardour 
Street  Labs,  Pathe  News  and  Pic- 
torial resulted  in  a  presentation  of 
a  barometer  and  a  sum  in  cash 
being  made  by  Manager  C.  J. 
Phillips  at  a  going-away  party  in 
his  office  on  Friday,  April  12th. 
Those  present  included  Mr.  W.  A. 
Fielder  (General         Manager), 

Messrs.  A.  Turner,  J.  Gemmell, 
A.  Simon,  E.  Potter,  R.  H.  Bom- 
back,  W.  Robinson,  J.  May, 
A.  Lawrence,  J.  Rees  and  F.  Cull. 

Those  members  who  can  cast 
their  minds  back  to   1935  will  re- 

Bill  Sharp  receives  A.C.T.T.  Darts  League  Shield 
as  Pathe  Captain 

member  Bill  as  one  of  the  active 
members  in  organising  the  forma- 
tion of  the  Laboratory  Branch  of 
the  Union.  He  was  an  untiring 
worker  on  behalf  of  A.C.T.T.  and 
was  in  fact  the  first  Shop  Steward 
of  the  Wardour  Street  Laboratory, 
a  job  he  held  with  distinction  for 
some  three  or  four  years. 

He  was  a  good  mixer,  liked 
social  activities  and  "  skippered  " 
the  successful  Pathe  darts  team  of 
a  few  years  ago. 

Through  the  years  he  has  been 
a  source  of  strength  to  A.C.T.T. 
and  has  always  been  ready  to  give 
advice  and  the  benefit  of  his  ex- 
perience to  the  local  Committees 
if  required. 

Alf  Cooper  writes: 

Following  the  close-down  of 
Radiant  Colour  Labs,  it  is  with 
pleasure  that  I  can  report  that  all 
redundant  personnel  are  now  re- 
employed within  the  industry. 

Many  of  our  members  are  still 
worried  about  the  dermatitis  prob- 
lem in  the  Laboratories  and  a  sub- 
committee was  formed  at  the  last 
Laboratories  Shop  Stewards  Com- 
mittee to  produce  a  full  report  on 
this  item  for  the  next  meeting  to 
be  held  in  May. 

FOR  SALE.— Vinten  Light-Gyro 
Tripod  with  tall  and  short  legs, 
top-hat,  fitted  case.  £90.  Box  204, 
F.T.V.,  5-6  Red  Lion  Square  Lon- 
don, W.C.I. 

FOR  SALE. — Newman  Model  G 
Camera  in  excellent  condition.  All 
Cooke  Lenses,  SINGLE  FRAME 
EXPOSURE  device,  etc.,  etc.  £400. 
Box  205,  F.T.V.,  5-6  Red  Lion 
Square,  London,  W.C.I. 

WANTE  D.— Friction  Tripod 

(Medium  Duty  size)  suitable  for 
wild  Newall  and  Vinten  Model  H 
Cameras.  Box  206,  F.T.V.,  5-6  Red 
Lion  Square,  London,  W.C.I. 



May  1957 

General  Council  in  Session 


cause of  the  unsatisfactory  out- 
come of  negotiations  with  M.-G.-M. 
over  the  employment  of  two 
foreign  technicians  on  The  Dreyfus 
Case,  and  because  the  company 
could  give  no  undertaking  to  em- 
ploy a  British  Producer  or  Director 
on  future  productions,  the  Execu- 
tive Committee  had  agreed  to  re- 
commend to  the  General  Council 
that  action  be  taken  to  enforce 
our  policy  that  both  the  Producer 
and  Director  shall  be  British  on  all 
quota  films  made  by  companies  not 
covered  by  the  B.F.P.A.  Quota  of 
Foreign  Technicians,  until  these 
companies  jointly  met  us  to  nego- 
tiate some  form  of  quota  agree- 
ment. To  enforce  this  policy  the 
Council  unanimously  agreed  to  ad- 
vise the  Ministry  of  Labour  and 
the  main  American  companies 
immediately  that  A.C.T.T.  was 
issuing  instructions  to  members  in 
Studios  and  Laboratories  not  to 
work  on  a  Quota  film  for  any  such 
company  which  goes  on  the  floor 
after  August  1st,  1957,  unless  all 
the  technicians  are  British  and 
members  of  A.C.T.T.  or  the  pro- 
duction has  received  clearance 
from  A.C.T.T. 

A  number  of  members  contri- 
buted helpful  suggestions  to 
further  the  campaign,  and  it  was 
agreed  that  a  leaflet  and  a  Press 
Statement  be  prepared  on  the 
matter  of  foreign  technicians,  lead- 
ing up  to  a  further  deputation  to 
the    Ministry    of    Labour. 

H-BOMB  TESTS.  The  United 
Nations  Association,  to  which  the 
A.C.T.T.  is  affiliated,  had  written, 
asking  for  support  in  calling  on 
the  Government  to  : 

1.  Suspend  the  present  series  of 
tests,  and 

2.  Put  forward  to  the  Disarma- 
ment Sub-Committee  pro- 
posals for  the  cessation  of  all 

The  Council  agreed  to  send  out  a 
circular  to  all  Shop  Stewards, 
urging  Shops  and  individual  mem- 
bers to  make  their  opposition  to 
the  H-bomb  tests  felt. 

LOANS.  The  Acting  General 
Secretary  reported  that,  owing  to 
the  continual  rise  in  costs  over  the 
outstanding  estimates  of  capital 
expenditure  in  connection  with  the 
T.U.C.  Memorial  Building,  a  sum 
of  roughly  £72,000  remains  to  be 
raised.  The  T.U.C.  have  decided, 
therefore,  to  invite  all  Unions  to 
make  loans  in  units  of  £1,000  re- 
payable with  interest  at  three  per 
cent  per  annum  within  a  period  of 
five  years  as  approved  by  Con- 
gress. At  present  the  T.U.C.  have 
in  mind,  among  other  things,  that 
any  union  in  financial  difficulty 
should  be  able,  if  they  so  desire, 
to  obtain  at  least  part  repayment 
of  the  loan  at  any  time  during  the 
five  years.  The  F.  &  G.P.  recom- 
mended that  we  be  prepared  to 
make  a  loan  of  £1,000.  The  Execu- 
tive agreed  to  this  recommenda- 


FILM  EDITOR  (known  locally  as  Film  Production  Officer)  required  by 
the  Federal  Government  of  Nigeria  for  the  Film  Production  Unit  of  the 
Information  Service  on  contract  for  18/24  months  in  the  first  instance. 
Salary  according  to  experience  in  scale  (including  inducement  addition) 
£1,170  rising  to  £1,488  a  year.  Gratuity  at  rate  £150  a  year.  Outfit 
Allowance  £60.  Liberal  leave  on  full  salary.  Free  passages  for  officer 
and  wife.  Grant  up  to  £150  annually  for  maintenance  of  children  in  U.K. 
Free  passages  for  children  up  to  cost  of  two  adult  return  fares.  (It  is 
thus  often  possible  for  an  officer  whose  children  are  being  educated  in 
the  U.K.  to  arrange  for  them  to  spend  two  or  more  school  vacations  in 
West  Africa  with  free  passages).  Candidates  must  be  experienced  in 
editing  to  final  stage  both  16mm.  and  35mm.  documentary  and  educa- 
tional films  and  must  have  the  ability  to  lay  dialogue,  commentary,  music, 
and  effects  tracks.  A  knowledge  of  film  processing  would  be  an  advan- 
tage. Write  to  the  Crown  Agents,  4  Millbank,  London,  S.W.I.  State 
age,  name  in  block  letters,  full  qualifications  and  experience,  and  quote 

BY    MEMBERS    OF    A.C.T.T.       A 

complaint  was  received  from  the 
E.T.U.  against  a  member  of 
A.C.T.T.,  who  it  was  alleged  in- 
tended using  his  own  lighting 
equipment  on  a  job  without  the 
services  of  a  production  electrician. 
It  was  necessary  to  call  a  joint 
meeting  with  the  E.T.U.  and  the 
member  concerned  present.  The 
meeting  was  a  friendly  one  and  the 
matter  was  sorted  out  satisfac- 
torily. The  E.T.U.  representative, 
however,  said  that  where  members 
of  A.C.T.T.  themselves  own  light- 
ing equipment  and  engage  elec- 
tricians they  should  do  so  through 
the  E.T.U.  office  and  not  from  any 
other  source. 

GREECE  asked  for  the  support 
of  A.C.T.T.  in  demanding  the  re- 
lease of  Trade  Union  leaders  im- 
prisoned in  Greece.  The  Executive 
agreed  that  a  cable  be  sent  as  sug- 
gested by  the  League. 

B.B.C./E.T.U.  A  dispute  had 
arisen  between  the  B.B.C.  and  the 
E.T.U  on  the  operation  of  the  Con- 
sole at  Riverside  Studios,  and  the 
BB.C.  had  demanded  that  in- 
dividual Trade  Unionists  should 
contract  out  of  a  freely  negotiated 
industrial  agreement  and  abrogate 
their  rights  and  duties  as  members 
of  the  Union.  A.C.T.T.,  Equity 
and  the  Musicians'  Union  had  been 
invited  to  meet  the  E.T.U.  to  dis- 
cuss this  and  they  had  jointly 
asked  the  B.B.C.  to  withdraw  the 
ultimatum  and  to  reach  a  speedy 
settlement  with  the  E.T.U.  to  pre- 
vent an  extension  of  the  dispute 
which  might  affect  members  of 
other  Unions.  The  E.T.U.  had  now 
asked  A.C.T.T.  to  issue  a  state- 
ment that  the  operation  of  the 
Console  is  the  job  of  an  E.T.U. 

It  was  decided  to  issue  a  state- 
ment that  A.C.T.T.  had  never  laid 
claim  with  the  B.B.C.  to  the 
mechanical  operation  of  electrical 
lighting  equipment,  including  the 
lighting  console,  and  a  letter  of 
explanation  should  be  sent  to  our 
members  in  the  B.B.C.  who  were 
Lighting  Engineers. 

A. B.C.  TELEVISION.  Paddy  Leech 
spent  a  day  in  the  Manchester 
Studios  of  this  company,  and  it  is 
hoped  to  develop  our  membership 
here.  The  Company  is  using  an 
exceptionally  large  number  of 
trainees,  who  are  responsible  for 
putting     out     programmes.       The 

May  1957 



Organiser  took  up  in  London  the 
question  of  the  hours  worked  by 
Production  Assistants.  At  a 
second  meeting,  the  company 
accepted  that  excessive  hours  had 
been  worked  and  gave  an  assur- 
ance that  an  instruction  had  been 
given  that  all  Production  Assis- 
tants must  work  a  five-day, 
44-hour  week.  Negotiations  are 
still  in  progress  to  raise  the 
salaries  of  several  lower-paid  Pro- 
duction Assistants. 

Leech  attended  a  Committee  meet- 
ing at  this  Manchester  shop,  where 
we  have  an  excellent  organisation. 
Recent  negotiations  at  shop  level, 
without  prejudice  to  the  National 
Agreement,  have  resulted  in  in- 
creases of  from  £50  to  as  much  as 
£250  a  year  for  numerous  grades. 
Our  Steward,  Gavin  Waddell,  was 
successful  in  stopping  a  process  by 
which  A. B.C.  Television,  under- 
crewed,  made  up  its  complement 
of  staff  by  using  Granada  per- 
sonnel (A. B.C.  Television  are  week- 
end, Granada  weekday  contrac- 
tors). This  has  been  placed  on  a 
proper  consultative  level,  with 
"  emergency "  as  the  criterion  of 
such    hiring. 

A.R.T.V.  Brother  Shine,  our 
A.R.T.V.  Shop  Steward,  with  the 
Organiser  present,  has  had  a  series 
of  meetings  with  the  Management 
in  recent  months.  These  have  led 
to  increased  staff  being  taken  on 
from   those  declared  redundant  as 

Camera  Hire 

(1)  NEWMAN  SINCLAIR— Mirror  Shutter. 
All  Cooke  Lenses  including  Series  2., 
25mm.,  f.1.7.  SINGLE  FRAME  EXPOSURE 
and  Electric  Motor  Drive.  (Available  fully 
adapted  for  CINEMASCOPE  if  required.) 

(2)  NEWMAN  SINCLAIR— Mirror  Shutter. 
Cooke  Lenses  and  24mm.  Angineux  Retro- 

(3)  NEWMAN  SINCLAIR— Model  G.  All 
and  Electric  Motor  Drive  if  required. 

Kingston   Tubular   and    Vinten    Light    Gyro 


18mm.    COOKE      RETROFOCUS   f  1.7. 

for     Mirror     Shutter    and     Model     'G' 



Metal  construction,  pneumatic  tyres,  drop- 
down jacks,  lightweight  tracks,  etc. 


FINchley  1595 

an  interim  measure  with  a  further 
review  to  take  place  shortly.  Im- 
portant modifications  have  been 
made  in  a  Management  qualifica- 
tion pay  scheme  for  certain  grades. 
Increases  in  pay  for  telecine  opera- 
tors, with  ex-gratia  payments  in 
lieu  of  back  pay  have  been  won. 

A.T.V.  We  are  making  organisa- 
tional progress  here  despite  some 
apparent  hostility  from  heads  of 
departments  and  membership  is 
slowly  being  built  up.  A  very 
successful  meeting  was  held  at  the 
Foley  Street  Studio  and  a  con- 
siderable increase  in  membership 
can  reasonably  be  expected.  The 
Organiser  is  taking  up  with  the 
Management  a  clause  in  some 
contracts  restricting  membership 
to  the  Association  of  Broadcasting 

of  the  TV  Draft  Agreement  have 
now  been  sent  to  the  Programme 
Contractors  with  a  letter  from  the 
Acting  General  Secretary  seeking 
an  early  meeting.  As  only  an 
acknowledgment  had  been  received 
from  the  Contractors  the  General 
Council  unanimously  agreed  to 
press    for    a    meeting. 

PINEWOOD.  Notification  had  been 
received  from  this  Company  that 
fifteen  of  our  members  would  not 
be  with  the  firm  after  May  3rd. 
Thirteen  were  at  Pinewood,  and 
two  at  Hill  Street.  Fred  Tonge 
visited  the  Studios  to  meet  the 
members  who  were  available  and 
phoned  Hill  Street. 

The  Studio  Manager  stated  that 
he  hoped  the  majority  would  be 
found  jobs  in  some  other  part  of 
the  Rank  Organisation  but  could 
give  no  definite  promise  on  this. 
Members  would  be  paid  to  May  3rd 
but  were  free  to  depart  earlier. 
Holiday  credits  would  be  paid 
after  May  3rd.  Fred  Tonge  re- 
ported to  the  Council  that  all  ex- 
cept five  members  had  now  found 
other  work. 


The  Laboratories  Committee  had 
pressed  for  up-to-date  printed 
copies  of  the  Agreement  to  be 
made  available,  and  it  was  agreed 
that  Bert  Craik,  the  Acting 
General  Secretary,  should  get  in 
touch  with  the  Film  Laboratory 
Association  and  get  the  Agree- 
ment printed  as  a  matter  of 


Lessees  FILM  PRODUCTION  SERVICES   (Surrey)   LTD. 

Provides   Complete  Studio  Projection  Service 
at  Any  Time  to  Suit    Your  Requirements 







86  WARDOUR  ST.,  LONDON,  W.l 

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Editing  Rooms  GERrard  9309 




The    Bespoke   Overcoat " 

a     REMUS    production 

Winner  of  the  1956  Oscar  for  the  best  short  in  the  world 

,4-        \       ,      -K 

May  1957 


a  dream  of  a  film  .   .   .  brought  to  life  on 




Awarded  First  Prize  as 
the  host  short  story  film  at  the 

1955  Venice  Festival 

and  First  Prize  as  the  best  short  in  the 

British  Film  Academy  Awards  1955 

35mm  cine  negative  films 

Romulus  presents  THE  BESPOKE  OVERCOAT,  a  Remus 
production  starring  DAVID  KOSSOFF  and  ALFIE  BASS. 
Producer  Director :  JACK  CLAYTON.  Screenplay  :  WOLF 
MANKOWITZ.  Photography:  W.  Suschitzy.  Distribution  con- 
trolled by  Independent  Film  Distributors  Ltd.,  in  association  with 
British  Lion  Films  Ltd. 


Published  by  the  Proprietors,  The  Association  of  Cinematograph,  Television  and  allied  Technicians,  2  Soho 
Square,  London,  and  Printed  by  Watford  Printers  Limited,  Watford,  Herts. 



Association     of    Cinematograph,    Television    and    allied    Technicians 
Vol.  23  No  ]50  PRICE  6d. 

FILM  and  TV 





"They  loved  life"  {see  page  90) 



June  July  1957 


sekvi  m  iTii 

'You  see .  .  . 

their  Ko4liivhrom<>  prim  hug 

mulivs  all  ihv  ilUFi>n>m*i>" 

22-25   PORTMAN   CLOSE    ■    BAKER  STREET    ■    LONDON  W.I 

Telephone:    HUNter    0408-9 

June ''July  1957 





A  FTER  eleven  years  of  abortive 
J-*- negotiations  A.C.T.T.  officially 
informed  American  film  companies 
on  May  9th  that  unless  in  the 
meantime  an  agreement  is  reached 
over  the  number  of  foreign  pro- 
ducers and  directors  employed  on 
quota  films  made  by  American- 
controlled  companies  in  Britain  its 
members  in  film  studios  and 
laboratories  will  be  instructed  not 
to  work  on  any  film  made  for  a 
production  company  which  is  not 
a  member  of  the  B.F.P.A.  after 
July  1st,  1957,  unless  all  techni- 
cians employed  on  the  film  are 
British  and  members  of  A.C.T.T. 
or  the  production  has  received 
clearance  from  the  Union. 

This  action,  taken  by  the  General 
Council  with  the  full  approval  of 
the  Feature  Producer/Directors' 
Section  and  endorsed  by  a  very 
large  majority  at  a  crowded  meet- 
ing of  members  of  the  Features 
Branch  on  May  14th,  marks  a 
decisive  step  forward  in  our 
struggle  to  achieve  an  equitable 
solution  of  the  problem  of  foreign 
technicians  working  in  this 

The  absence  of  any  agreement 
on  this  subject  with  American 
companies  has  been  a  thorn  in  the 
flesh  of  A.C.T.T.,  and  particularly 
of  our  own  producers  and  directors, 
for  a  very  long  time. 

Recently  a  London  evening  paper 
had  this  to  say  of  a  certain  new 

Officially  listed  as  a  British 

quota   film,   but   employing   an 

American    director    and    three 

Hollywood   stars,    (it)    ...    is 

about      as      English      as      the 

Yankee  Stadium. 

Similar     criticisms     could     have 

fairly  been   applied  to  very  many 

films  made  here  in  recent  years. 

That  particular  film  was  made 
by  a  company  with  whom  A.C.T.T. 
has  no  particular  quarrel.  The 
company  has  always  employed 
A.C.T.T.  members  and  has  meti- 
culously observed  trade  union 
agreements.  For  our  part,  while 
we  welcome  the  employment  which 

work  on  such  films  brings  to  our 
members,  we  believe  that  it  is 
utterly  wrong  that  films  made 
under  such  conditions  should  be 
entitled  to  the  classification  of 
'  British ',  especially  when  one 
realises  the  limited  amount  of 
screen  time  available  to  British 
films  under  a  Quota  Act  which  in 
effect  reserve:,  over  70  per  cent  of 
screen  time  for  American  pro- 
ducts, and  also  that  such  films 
receive  "  Eady  money  ". 

Let  nobody  suppose  that  the  ban 
which  is  to  operate  from  July  1st 
is  a  piece  of  arbitrary  action  in- 
spired by  insular  prejudices.  The 
General  Council  in  reaching  its 
decision  had  no  such  thoughts  in 
its  mind.  The  decision  which  has 
been  taken,  and  which  we  are  con- 
fident that  all  our  members  will 
loyally  observe,  has  just  one  aim, 
to  give  our  Union  the  power  to 
force  the  American  companies  to 
negotiate  a  fair  settlement. 

We  have  always  welcomed  the 
co-operation  of  outstanding  film 
makers  on  British  productions  pro- 
vided that  it  was  on  a  regulated 
basis,  and  on  such  a  basis  we  shall 
most  certainly  continue  to  do  so. 
What  we  find  intolerable,  and  what 
we  are  determined  no  longer  to 
tolerate,  is  the  complete  refusal  of 
American  companies,  either  collec- 
tively or  individually,  to  enter  into 
any  agreement  to  regulate  the 
number  of  their  producers  and 
directors  employed  here. 

With  the  B.F.P.A.  we  have  an 
agreement  under  which  B.F.P.A. 
members  may  employ  each  year 
foreign  producers  or  directors 
equivalent  in  number  to  not  more 
than  ten  per  cent  of  the  total 
number  of  first  feature  films  made 
by  B.F.P.A.  members  as  a  whole. 
From  our  point  of  view,  and  we 
believe  from  the  point  of  view  of 
the  B.F.P.A.,  that  agreement  has 
been  a  complete  success.  The 
agreement  has  been  satisfactory, 
too,  from  the  point  of  view  of  the 
Ministry  of  Labour.  There  is  no 
trouble  here. 

The  trouble  comes  from  com- 
panies   outside    the    ranks    of    the 

B.F.P.A.,  and  notably  from  the 
American  Companies.  Time  and 
again  approaches  have  been  made, 
either  collectively  to  the  Motion 
Picture  Producers'  Association 
which  represents  all  American 
companies,  or  to  companies  in- 
dividually, in  the  hope  of  getting 
some  form  of  quota  arrangement 
on  the  lines  of  the  B.F.P.A.  agree- 

A.C.T.T.  has  gone  as  far  as  it 
could  go  to  make  agreement  pos- 
sible but  in  every  case  it  has  met 
with  a  negative  response.  Even 
an  amendment  of  policy  which 
would  enable  us  in  most  cases  to 
accept  a  position  whereby  either 
the  director  or  producer  could  be 
foreign  provided  the  other  key 
post  was  held  by  a  British  tech- 
nician has  not  induced  the  Ameri- 
can companies  to  negotiate. 

It  may  well  be  that  because  we 
have  exercised  patience  over  eleven 
long  years  the  strength  of  our 
desire  to  get  this  problem  settled, 
both  for  the  safeguarding  of  our 
own  producers  and  directors  and 
of  British  film  production,  has  been 
under-rated  on  the  other  side  of 
the  Atlantic.  But  American  com- 
panies, like  ourselves,  are  realists, 
and  we  believe  that  they  will  now 
interpret  rightly  our  determination 
to  see  the  present  unsatisfactory 
position  ended.  Indeed,  as  we  go 
to  press  a  conference  was  held 
under  the  chairmanship  of  the 
Ministry  of  Labour  at  which  suffi- 
cient progress  was  made  to  enable 
us  to  suspend  the  ban  pending  the 
conclusion  of  negotiations. 



Editorial  Office: 
2  Soho  Square,  W.l 

Telephone:     GERrard   8506 

Advertisement   Office: 

5  and  6  Red  Lion  Sq.,  W.C.I 

Telephone:    HOLborn  4972 



June/July  1957 

A  POINT  of  some  interest  to  our 
-^  TV  members  arises  from  the 
recent  TV  link  with  Prague  for  the 
European  Amateur  Boxing  Cham- 
pionships. It  appears  that  several 
of  the  Czech  camera  operators 
were  women — a  fact  that  aston- 
ished the  British  commentator. 

I  can't  say  that  I  have  ever  seen 
a  camera  (wo)  man  anywhere  in  TV 
(any  offers?).  Nor  telecine  opera- 
tors or  control  for  that  matter. 
The  only  inroad  into  the  males' 
customary  province  I  know  of  is 
in  Associated  Rediffusion,  where 
there  is,  I  think,  a  woman  sound 
balancer.  In  films  the  lines  of  de- 
marcation seem  to  be  traditionally 
even        more        rigid.  Women 

"mixers"?  It  seems  unthinkable. 
About  the  only  department  where 
women  and  men  compete  on  equal 
terms  is  in  the  editorial  and  pro- 
duction section.  But  A.C.T.T.  is  not, 
of  course,  opposed  to  full  sex 
equality,  and  we  remember  one  or 
two  very  competent  women  mem- 
bers of  the  Sound  department  dur- 
ing the  war,  as  we  also  remember 
the  all-women  documentary  unit 
which  functioned  for  a  short  while. 

Warm  enough? 

Head  Office  has  had  a  letter 
from  H.M.S.  Warrior,  somewhere, 
I  presume,  in  the  Pacific.  It  is 
from  Harvey  Harrison,  who  has 
been  directing  the  official  film  of 
the  H-Bomb  tests  in  the  Christmas 

He  says  that  the  heat  was  ter- 
rific— averaging  96  in  the  shade, 
and  humidity  of  98 — which  made 
it  "  uncomfortable  "  at  times.  For 
my  money,  that  close  to  the 
H-Bomb  tests  would  make  it  un- 
comfortable all  the  time.  Harvey 
Harrison  wishes  to  be  remembered 
to  his  friends  in  the  Street — and 
hopes  to  see  them  all   in  July. 

Tribute   .   .   . 

The  tale  that  it  is  the  dis- 
gruntled and  inefficient  who  make 
enthusiastic  trade  unionists  dies 
hard.  It's  all  the  more  pleasant  to 
see  a  tribute,  in  a  sense,  to  the 
Union  in  the  Daily  Film  Renter  of 
May    24th.      The    quote :     "  Three 

more  shows,  Under  Fire,  directed 
by  Herbert  Wise;  Youth  Wants  to 
Know,  by  Kurt  Lewenhak;  and 
What  the  Papers  Say,  by  James 
Ormerod,  have  all  tended  to  stimu- 
late the  minds  of  viewers  as  well 
as  providing  good  entertainment  ". 
The  author  is  writing  of  Granada 
TV.  Herbert  Wise  is  the  Granada 
representative  on  the  TV  Nego- 
tiating Committee,  Kurt  Lewenhak 
is  the  deputy  steward,  and  James 
Ormerod  a  leading  member  of  the 
Granada   Committee ! 

"  Temptation   Pink  "  ? 

In  an  industry  noted  for  its  rapid 
changes,  the  latest  idea  for  in- 
creased efficiency  comes  from  ABC 
Television.  This  is  to  have  the 
technicians  in  coloured  jerseys. 
Sound  and  camera  wear  red,  elec- 
tricians grey,  and  "  props  "  black. 
There  has  been  no  suggestion  so 
far  for  jerseys,  or  their  colours, 
for  directors,  for  instance,  but  if 
there  is  to  be  a  different  colour 
jersey  for  every  grade  in  television 
the  ABC  TV  management  will 
have  to  turn  to  the  lipstick  manu- 
facturers for  tints! 


N.F.F.C  s  Annual 

Those  film  industry  chiefs  who 
have  been  throwing  their  arms  up 
in  surprise  at  the  National  Film 
Finance  Corporation  making  a 
small  loan  for  a  TV  picture  are 
only  displaying  their  own  ignor- 
ance of  the  purposes  of  the 
N.F.F.C.  The  Corporation's  con- 
stitution allows  it  to  finance  TV 
films,  and,  as  its  Managing  Direc- 
tor David  Kingsley  told  our  annual 
general  meeting  over  two  years 
ago,  it  considers  that  the  future  of 

the  production  side  of  the  industry 
depends  on  the  full  exploitation  of 
theatrical  and  TV  film  distribution. 

All  the  fuss  stems  from  a  short 
25-word  paragraph  in  the  Annual 
Report  and  Statement  of  Accounts 
of  the  N.F.F.C.  for  the  year  to 
March  31st,  1957  IH.M.  Stationery 
Office,  1/3),  and  has  tended  to  dis- 
tract attention  from  what  has  be- 
come one  of  the  most  important 
documents  of  each  year. 

Here  this  year  are  reflected  the 
fortunes  of  our  members  in  colour 
laboratories,  as  seen  by  the  fact 
that  less  is  on  average  spent  on 
laboratory  charges  on  each 
N.F.F.C. -assisted  production,  be- 
cause more  black-and-white  sub- 
jects were  made  last  year;  here, 
also,  is  evidence  of  further  speed- 
up in  the  studios — each  feature  film 
taking  an  average  of  thirty-nine 
days  in  front  of  the  cameras,  in- 
stead of  forty-one  days  the  year 
before,  and  forty-six  days  the  year 
before  that;  here,  too,  are  signs  of 
Government  policy,  as  seen  in  the 
recent  reduction  of  Entertainment 
Tax  and  increase  in  the  Bank  Rate. 

Not  Enthusiastic 

The  Report  is  not  really  en- 
thusiastic about  either — the  in- 
terest paid  by  the  Corporation  on 
loans  from  the  Board  of  Trade  and 
the  banks  has  had  to  be  increased 
with  the  Bank  Rate,  and  the  stabil- 
ising effect  of  the  reduction  of  E.T. 
is  not  regarded  as  likely  to  offset 
the  reduction  in  net  box-office 
takings  due  to  any  further  falls  in 

Production  costs  on  the  average 
film  have  increased  in  the  past 
year,  and  the  N.F.F.C.  has  in- 
creased its  profits  to  a  record 
figure  of  £84,727.  Maybe  that  is 
why,  although  it  notes  that  it  sub- 
mitted proposals  to  the  Board  of 
Trade  on  what  is  needed  to  safe- 
guard British  film  production, 
there  are  no  signs  in  the  Report  of 
any  suggestions  for  any  funda- 
mental change  in  the  set-up  of  the 

This  is  in  marked  contrast  to 
the  long-term  and  short-term  pro- 
posals made  at  the  same  time  by 
the  six  film  Unions.  This  Shaw- 
cross-like  mentality  on  the  part  of 
the  N.F.F.C.  may  please  the 
Government,  but  it  will  not  begin 
to  solve  the  problems  of  closed 
studios.  unemployment,  casual 
work  and  American  domination  in 
the  way  that  the  Unions'  joint 
document  can. 

Christopher  Brunei 

June /July  1957 




FRED    TONGE,    our    new   Organiser,    gives    his    impressions 
after  his  first  four  months  with  A.C.T.T. 

"  ICH  DIEN  ".  Were  the  A.C.T.T. 
an  individual  and  not  a  corporate 
body,  "  I  serve  "  might  well  be  its 

I  have  been  asked  what  im- 
pressed me  most  on  coming  into 
the  organisation,  after  many  years 
with  another  union  (the  Transport 
Salaried  Staffs  Association)  and 
long  experience  through  Trades 
Councils   with   various   unions. 

To  me,  the  most  striking  thing 
is  the  service  given  to  members, 
and  the  degree  of  consultation  be- 
tween management  and  workers. 

There  are,  of  course,  obvious 
differences  between  the  railway  in- 
dustry— purely  utilitarian,  in 
many  respects  sadly  behind  the 
times  and  handicapped  by  lack  of 
finance — and  the  film  industry 
which  is  creative,  artistic,  and  by 
comparison,   modern. 

Attitude  of  Managements 

I  find  of  particular  interest  the 
attitude  of  the  managements  in 
the  film  industry  to  the  Union.  The 
line  of  demarcation  between 
managerial  function  and  union 
activity  is  not  so  sharply  drawn 
as  it  is  in  many  other  fields.  This 
is  due  I  think  to  the  comprehen- 
sive agreements  which  have  been 
drawn  up,  together  with  the  fact 
that  many  of  those  in  authority 
are  members  of  A.C.T.T.  Joint 
consultation  is  more  of  a  reality 
than  in  any  other  industry  with 
which  I  have  come  into  contact. 

In  so  many  industries,  the  union, 
no  matter  how  well  organised,  is 
always  the  suppliant,  and  is  de- 
barred from  discussing  many  sub- 
jects of  vital  interest  to  its  mem- 
bers, on  the  grounds  that  this  or 
that  is  a  managerial  function  and 
not  the  concern  of  the  Union.  It 
will  be  appreciated  that  this  atti- 
tude is  bound  to  lead  to  frustration 
and  is  not  conducive  to  getting  the 
best  from  the  people  on  the  job. 

In  the  Railway  Industry  one  has 
to  contend  with  an  attitude  among 
the  management  which  has  its 
origins  in  the  past,  when  workers 
were  unorganised  and  consulta- 
tion was  unheard  of.  Too  often, 
even  today,  managements  seek  to 

impose  changes  without  prior  dis- 
cussion, and  local  bosses  try  to 
circumvent  the  provisions  of 
national  agreements.  Too  many  of 
the  '  higher-ups  '  do  not  believe  in 

Fred  Tonge 

nationalisation  of  the  railways  and 
have  not  attempted  to  make  it 
work  efficiently. 

This  attitude  makes  negotiation 
a  very  hard  task,  and  calls  for 
constant  vigilance  on  the  part  of 
the  union  members,  through  their 
local  departmental  committees  and 
Trade   Union   Branches. 

Impressive  Speed 

The  speed  with  which  minor 
differences  in  the  film  industry  are 
ironed  out  has  greatly  impressed 
me.  My  previous  experience  has 
been  that  far  too  often  matters 
that  should  have  been  settled  in 
a  few  moments  have  been  delayed 
for  weeks  and  even  months  simply 
because  no  one  appeared  to  have 
the  authority  to  reach  a  settle- 

The  attention  given  to  applica- 
tions for  membership  of  the  Union 
is  something  quite  new  in  my  ex- 
perience. The  old  army  joke  "  If 
you're  warm  your  in  ",  can  far  too 
often  be  applied  to  membership  of 

a  union.  If  you  are  literate 
enough  to  sign  your  name,  or  fail- 
ing this,  make  a  cross,  you  become 
a  member. 

This  is  understandable  in  an  in- 
dustry where  there  are  large  sec- 
tions of  unorganised  workers,  and 
where  every  member  counts,  but 
I  find  it  refreshing  to  come  into 
an  industry  where  four  sponsors 
and  the  blessing  of  the  shop 
steward  must  accompany  every 
application  for  membership.  That 
the  sponsors  and  the  shop  steward 
are  required  to  give  reasons  in 
writing  why  they  consider  the 
applicant  is  fit  to  be  a  member 
of  the  industry  and  of  the  Union, 
makes  it  clear  to  the  applicant 
that  he  is,  by  joining  the  A.C.T.T., 
expected  to  make  his  contribution 
both  to  the  Union  and  to  the  in- 

Room  for  Improvement 

I  do  not  imagine,  of  course,  that 
every  member  of  A.C.T.T.  is  a 
100  per  cent  trade  unionist,  or  that 
all  members  play  an  active  part  in 
the  Union — I  am  sure  there  is 
room  for  improvement  in  atten- 
dance at  branch  or  sectional  meet- 
ings, as  in  all  other  unions. 

Neither  am  I  under  the  illusion 
that  all  employers  are  angels, 
some  do  attempt  to  pull  a  '  fast 
one ',  sometimes  they  get  away 
with  it.  The  reasonably  satisfac- 
tory situation  is  the  result  of  the 
strength  of  the  Union  and  the 
loyalty  of  its  members. 

The  relation  between  the  various 
unions  in  the  film  industry  is  an 
amicable  one,  and  is  certainly  far 
happier  than  the  relations  between 
the  railway  unions.  Unfortunately 
the  joint  action  built  up  during 
the  war  years  had  broken  down 
and  public  disagreement  and  re- 
criminations are  not  uncommon, 
with  the  resultant  weakening  of 
the  Union's  bargaining  powers. 

Within  the  A.C.T.T.  itself,  there 
is  greater  cohesion  between 
various  grades;  the  whole  crew, 
whether  camera,  sound,  produc- 
tion, or  what  have  you,  is  con- 
cerned with  the  ultimate  result  of 
their  work.     There  is  pride  in  the 

(Continued  on  page  86) 



June  July  1957 

As  Others  See  Us 

( Continued) 

"  end  product  ".  On  the  railway, 
too  often  the  "  end  product "  is 
never  seen  by  the  rank  and  file 

As  I  intimated  earlier,  the  in- 
dividual attention  given  to  mem- 
bers of  the  Union  is  something 
new  in  my  experience.  Every 
member  seems  to  be  known  per- 
sonally at  Soho  Square,  committees 
give  more  detailed  consideration 
to  individual  problems  than  I  have 
experienced  before.  This  is,  of 
course,  possible  because  of  the 
compact  area  within  which  the 
Union  operates,  and  the  relative 
size  of  the  film  industry  to  rail- 

I  have  found  my  first  four 
months  exciting  and  invigorating. 
I  would  like  to  thank  the  members 
of  A.C.T.T.,  be  they  members  of 
the  General  Council,  the  Executive 
Committee,  shop  stewards  or  rank 
and  file  with  whom  I  have  come 
into  contact,  for  the  friendship  and 
toleration  they  have  shown  to  the 
"  new  boy  ". 

The  A.C.T.T.  is  respected  among 
other  Unions,  not  only  in  the  en- 
tertainment industry,  but  in  a  far 
wider  field,  because  it  has  set  a 
standard  of  approach  and  conduct 
second  to  none. 


In  connection  with  the  Inter- 
national Exhibition  to  be  held  in 
Brussels  in  1958  La  Cinematheque 
de  Beige  (The  Belgian  Film 
Library)  is  organising  an  Inter- 
national Experimental  Film  Com- 
petition open  to  independent  film- 
makers throughout  the  world. 

Films  entered  may  be  either  in 
16mm.  or  35mm.,  in  black  and 
white,  or  in  colour,  sound  or  silent. 
The  purpose  of  the  competition  is 
"  to  encourage  free  artistic  crea- 
tion, the  spirit  of  research  and 
pioneering  effort."  The  term  "  ex- 
perimental "  will  be  interpreted  as 
embracing  all  films  which  "  in 
their  form  reveal  an  attempt  to 
explore  new  developments  of  cine- 
matographic expression,  or  which 
by  their  content  touch  on  subject 
matter  unfamiliar  in  the  cinema." 

There  will  be  two  Grands  Prix, 
one  of  ten  thousand  Belgian  francs 
and  one  of  five  thousand  Belgian 
francs.  Full  particulars  of  the 
competition  may  be  obtained  from 
La  Cinematheque  de  Belgique, 
Palais  des  Beaux-Arts,  Brussels. 


By  Ralph  Bond 

An  impressive  demonstration  of 
their  "  Technirama  "  process  was 
given  by  Technicolor  at  the  Odeon, 
Leicester  Square,  on  June  1st  be- 
fore an  invited  audience  of  over 
2,000  people. 

Technirama  is  a  new  anamor- 
phic  system  which  claims  to  over- 
come all  the  defects  of  standard 
anamorphic  systems  and  to  present 
a  picture  of  perfect  sharpness  and 

These  claims  seem  fully  justified 
and  if  the  brilliance  of  the  Odeon 
demonstration  can  be  repeated  in 
the  average  release  cinema,  audi- 
ences are  in  for  a  treat. 

Excerpts  from  many  films  now 
in  production  and  using  the  new 
process  were  screened,  first  in 
CinemaScope  ratio,  then  in  Vista- 
Vision  and  finally  in  the  full  "Road 
Show"  ratio  where  a  special 
double-frame  projector  is  used. 

In  each  case  the  results  were 
outstandingly  good.  There  was 
great  depth  of  focus,  pin-point 
definition,  and  no  fringing  or  fall- 
ing away  at  the  edges.  All  the 
excerpts  were  projected  without 
sound  so  that  the  audience  could 
concentrate  on  the  picture  quality 
alone.  (For  the  benefit  of  our 
Sound  Section  it  should  be  stated 
that  this  does  not  forecast  a  return 
to  silent  films!) 

35mm.   Colour   Negative 

The  great  merit  of  Technirama 
is  that  it  employs  standard  35mm. 
colour  negative  which  moves  hori- 
zontally through  the  camera  ex- 
posing eight  perforation  frames, 
and  from  this  negative  prints  can 
be  made  for  practically  all  aspect 
ratios  —  CinemaScope,  VistaVision 
and  other  standard  projection 
ratios,  including  16mm.  No  new 
projection  equipment  is  needed  in 
the  cinema,  except  for  the  "  Road 
Show  "  prints  where  a  special  pro- 
jector has  been  designed  in  which 
a  double-frame  print  from  the 
negative  moves  horizontally 
through  the  projector  at  twenty- 
four  frames  per  second. 

This  double-frame  projection 
(which  incorporates  anamorphotic 
correction  by  vertical  compression 
instead  of  horizontal  expansion) 
achieves  quite  amazing  results  and 

had    the   Odeon   audience    applaud- 
ing enthusiastically. 

Productionwise,  it  is  claimed 
that  the  process  increases  costs 
by  no  more  than  £5,000-£7,000  on 
an  average  feature  film.  Stock 
consumption  on  the  first  five 
Technirama  films  increased  not  by 
100',  but  by  60fr.  as  a  result  of 
the  fewer  set-ups  required.  All  the 
usual  special  effects  —  dissolves, 
fades,  matte  shots,  etc. — are  prac- 
ticable and  the  results  enhanced 
because  of  the  larger  negative. 

Breath-taking  Beauty 

Most  of  the  extracts  shown  at 
the  Odeon  were  exterior  scenes 
from  films  on  location  in  France, 
Japan,  Italy,  and  other  countries, 
and  it  is  here,  probably,  that 
Technirama  is  shown  at  its  best. 
Scenes  of  breath-taking  beauty 
were  unfolded  without  a  flaw  to 
mar  the  perfection. 

Technically  our  industry  marches 
forward  in  a  wondrous  way,  but 
that  ever-nagging  still-small-voice 
that  demands  subject  matter  to 
match  the  technique  will  not,  we 
hope,  be  quietened. 

Soho  Fair 

A  special  feature  of  this  year's 
Soho  Fair  will  be  "  MEET  THE 
WORLD  ",  an  exhibition  of  photo- 
graphs in  the  hall  of  Notre  Dame 
de  France,  5  Leicester  Place, 
Leicester  Square,  from  July  15th 
to  July  20th. 

The  organisers'  aim  is  to  portray 
Soho  at  work  and  play:  they  would 
welcome  the  co-operation  of 
A.C.T.T.  members  in  lending 
photographs  within  the  following 
range:  studio  portraits  and  Soho 
personalities,  theatrical  pictures, 
Soho  activities  and  street  scenes 
and  pictures  of  the  Soho  Fairs  of 
1955  and  1956. 

Will  members  who  have  pictures 
to  offer  please  contact  the  Secre- 
tary of  the  Soho  Association,  Mr. 
Michael  Napper.  St.  Anne's  House, 
Dean  Street.      (Gerrard  2030). 

June/July  1957 





All  A.C.T.T.  members,  and  parti- 
cularly members  of  the  Sound  Sec- 
tion, will  learn  with  regret  of  the 
death  of  W.  H.  Lindop,  "  Lindy " 
to  his  many  friends,  a  long-stand- 
ing member  and  Sound  Supervisor 
at  Walton  Studios. 

"Lindy"  first  entered  the  industry 
in  1933  at  British  and  Dominion 
Studios,  Elstree,  leaving  there  in 
1936  to  go  to  Pinewood.  While  in 
this  studio  he  was  mixer  for 
Woman  Alone,  starring  Elizabeth 

After  the  war,  during  which  he 
was  attached  to  the  R.A.F.,  he  re- 
turned to  Denham,  and  after  this 
studio  closed  down  he  went  to 
Walton.  Here  he  was  mixer  of 
such  films  as  Scrooge,  Pickwick 
Papers,  Man  Who  Watched  the 
Trains  Go  By  and  Joe  Macbeth. 

W.  H.  Lindop  was  highly  thought 
of  by  his  colleagues  in  the  industry, 
both  as  technician  and  friend.  At 
the  last  meeting  of  the  General 
Council,  members  stood  in  silence 
to  his  memory. 

The  Union  offers  sincere  con- 
dolences to  his  family. 


Members  of  A.C.C.T.  will  regret 
to  hear  of  the  death  at  the  early 
age  of  49  years  of  Harold  King, 
Recording  Director  at  A.B.P.C. 
Studios.  He  died  on  Wednesday, 
May  22nd,  1957,  in  St.  Mary's  Hos- 
pital, Paddington,  after  a  long  and 
painful  illness. 

Harold  was  educated  at  Batter- 
sea  Grammar  School,  and  took  an 
early  interest  in  radio,  serving  as 
a  ship's  radio  operator  in  his 

He  first  entered  the  film  industry 
as  an  electrician  at  Beaconsfield 
Studios,  and  then  became  a 
Camera  Operator  on  some  of  the 
silent  films   made  there. 

Later,  with  the  advent  of  talkies, 
he  transferred  to  B.I. P.  Elstree, 
and  was  employed  as  a  Sound 
Camera  Operator  on  the  first 
sound  film  made  there.  Blackmail. 

Afterwards,  returning  to 

Beaconsfield  he  became  Sound 
Mixer,  and  later  Chief  of  Sound, 
and  remained  there  until  the  out- 
break of  war,  when  he  took  over  as 
Chief  Sound  Engineer  at  British 
National  Studios,  Elstree. 

A.C.T.T.  Moves  on  Features 


A.C.T.T.  is  making  an  immediate 
move  for  a  substantial  increase  in 
wage  rates  for  members  working 
in  Features. 

This  step,  which  follows  on  the 
resolution  passed  by  A.G.M.,  was 
endorsed  by  a  unanimous  vote  at 
an  exceptionally  well-attended 
meeting  of  the  Features  Branch 
at  Caxton  Hall,  Westminster,  on 
May  14th.  Despite  the  heat-wave 
and  the  lure  of  the  open  air  the 
hall  was  so  crowded  that  it  was  a 
case  of  '  standing-room  only  '  for 
many  who  were  not  able  to  get 
there  early. 

The  two  main  items  on  the 
agenda  were  the  endorsement  of 
the  ban  on  foreign  technicians 
(with  which  we  deal  on  our  Edi- 
torial page)  and  of  the  move  for  a 
wages  increase. 

Speaking  on  the  wages  claim 
George  Elvin  reviewed  the  in- 
creases that  had  been  obtained 
since  the  Features  Agreement  was 
first  signed  in  1947.  All  grades, 
he    said,     which     did     not    exceed 

In  1948,  after  the  old  B.I. P. 
stages  were  rebuilt  as  A.B.P.C.'s 
new  studios,  he  was  appointed  Re- 
cording Director  there,  a  position 
he  held  until  his  death. 

Only  those  who  worked  with  him 
know  the  amount  of  work  and 
effort  that  he  put  into  the  building 
and  equipping  of  the  A.B.P.C. 
Sound  Department.  He  had  an 
appreciation  of  the  finished  pro- 
duct second  to  none,  and  was 
always  striving  for  the  best.  He 
readily  tried  and  adopted  new 
techniques,  but  always  with  the 
end  result  in  view. 

Without  doubt  his  strength  lay 
in  his  wide  knowledge  of  all 
branches  of  film  making,  attention 
to  detail  and  a  dogged  perse- 
verance which  persisted  even 
through  his  long  illness. 

During  the  last  year  of  his  life, 
his  courage  in  carrying  on  nor- 
mally with  his  job,  despite  the  con- 
siderable pain  he  suffered,  com- 
manded the  admiration  of  all  his 
colleagues.  He  never  gave  up  and 
always  maintained  he  would 


£12  10s.  Od.  a  week  in  1947  had 
since  then  received  increases  total- 
ling £3  0s.  4d.  All  grades  between 
£12  10s.  Od.  and  £25  had  received 
increases  totalling  £2  9s.  4d.  Grades 
with  a  minimum  salary  of  £30  had 
received  £3,  while  those  on  a 
salary  of  £40  and  over  had  received 
increases  which  totalled  £4.  These 
figures  represented  increases  of 
24%  for  the  lowest  grade,  20%  to 
10%  for  the  second  grade  and  10% 
for  the  remaining  two  grades. 

Against  this  the  cost  of  living, 
as  indicated  by  the  Index  of  Retail 
Prices  showed  food  up  by  86%  as 
compared  with  1947,  clothing  and 
household  goods  up  by  48%  and 
drink  and  tobacco  up  by  23%.  On 
an  arithmetical  basis,  in  terms  of 
the  present  purchasing  power  of 
the  pound,  members  on  the  1947 
rate  of  £12  10s.  Od.  should  now  be 
getting  £20.  Those  on  the  £25  rate 
should  be  getting  £40,  those  at  £30 
should  be  getting  £43  16s.  Od.  and 
those  at  £40  £58  8s.  Od. 

The  General  Secretary  pointed 
out  that  the  Eady  Levy  had  now 
been  got  on  to  a  compulsory  basis, 
and  A.C.T.T.  was  among  the  unions 
that  had  pressed  for  this.  This 
assured  an  increase  of  £1^  million 
in  the  first  year  to  the  producing 
companies  and  there  was  a  case, 
quite  apart  from  the  rise  in  the 
cost  of  living,  for  film  technicians 
to  receive  some  of  this  increase. 

The  General  Council  felt  justified 
in  going  ahead  on  the  basis  of  the 
A.G.M.  resolution  and  an  official 
approach  would  be  made  at  once  to 
the  B.F.P.A.  asking  for  an  im- 
mediate meeting  to  discuss  a  sub- 
stantial increase.  "  We  shall  make 
the  application  right  away,"  George 
Elvin  said,  "  and  we  shall  report 
back  to  you.  The  result  of  our 
negotiations  will  depend  just  as 
much  on  your  solidarity  and  enthu- 
siasm as  it  will  upon  our  negotiat- 
ing skill." 

George  Elvin  added  that  A.C.T.T. 
had  a  very  difficult  job  in  these 
matters.  They  had  members  who 
were  paid  low  rates  and  others 
earning  very  high  figures.  All  that 
they  could  do  was  to  negotiate  on 
a  minimum  for  each  grade.  At  the 
same  time  they  felt  that  members 
receiving  a  small  personal  extra 
for  merit  should  be  included  in  the 
increase  that  A.C.T.T.  was  seeking. 


June/July  1957 



Lindsay  Anderson 

IT  all  depends  where  you  sit. 
"  This  Year's  Flop,"  ran  the 
headline  of  the  Kine  Weekly  report 
on  this  year's  Cannes  Festival,  and 
its  correspondent  went  on  to  say: 
"  This  year  I  got  the  impression 
the  festival  was  a  '  has-been '." 
Yet  to  many  of  us  (myself  in- 
cluded), this  tenth  International 
Festival  at  Cannes  was  one  of  the 
best  of  the  series,  and  certainly 
one  of  the  most  vigorous  and  en- 
couraging in  recent  years.  En- 
couraging, too,  not  merely  for  the 
quantity  of  good  and  promising 
work  shown,  but  for  the  quite  ex- 
tensive reporting  of  the  films  in 
the  more  responsible  papers. 

There  was  one  aspect  of  the 
occasion,  though,  that  largely 
escaped  attention,  and  that  is  our 
own  showing.  Yet  this  is  an  im- 
portant aspect,  and  one  we  should 
do  well  to  consider.  I  wish  indeed 
that  more  British  film  makers  had 
been  able  to  see  that  fortnight's 
bird's-eye-view  of  world  produc- 
tion. There  was  much  to  learn 
from  it. 


Since  I  am  writing  as  a  techni- 
cian, to  technicians,  there  is  no 
point  in  my  straining  for  polite- 
ness. So  I  will  kick  off  by  saying 
that  the  really  disturbing  thing 
about  Cannes  this  year,  from  the 
British  point  of  view,  was  the 
faded  appearance  of  our  own  con- 
tribution. As  the  young  Argen- 
tinian director  of  The  House  of 
the  Angel  remarked  to  me  after 
the  showing  of  our  first  entry : 
"  It  reminds  me  of  the  sort  of  film 
you  were  making  in  Britain  before 
the  war." 

This  perhaps  comes  as  some- 
thing of  a  shock  to  technicians  at 
home,  where  certainly  both  High 
Tide  at  Noon  and  Yang-tsi  Inci- 
dent must  be  numbered  among  the 
more  ambitious  and  respectable  of 
our  current  productions.  It  is  only 
when  you  get  to  an  international 
festival,  and  see  work  presented 
not  only  by  the  big  film  powers 
like  America,  Russia,  France, 
Italy  and  Japan,  but  also  by  coun- 
tries with  resources  and  experience 
far  more  limited,  that  you  realise 

how  far  we   in   Britain   are  falling 

It  has  been  a  swift  reversal.  The 
first  time  I  went  to  Cannes,  to  the 
festival  in  1949,  our  prestige 
was  high :  in  fact  we  won  th? 
Grand  Prix,  with  The  Third  Man. 
Since    1951,    however,    when    The 

fully,  you  must  have  some  idea  of 
what  is  being  done  in  the  cinema 
outside  the  industries  of  Britain 
and  America — and  this  of  course  is 
one  of  the  chief  fascinations  of 
these  international  festivals.  Two 
or  three  years  ago,  the  emphasis 
was  all  on  the  new  techniques,  and 


Browning  Version  was  prized  both 
for  script  and  Michael  Redgrave's 
performance,  we  have  not  won  a 
single  award,  except  for  shorts — 
The  Stranger  Left  No  Card,  The 
Pleasure  Garden  and  Together.  Yet 
people  abroad  still  remember  the 
palmy  days  of  the  British  cinema 
in  the  immediate  post-war  years. 
"  Surely,"  they  ask,  "  Your  selec- 
tion must  be  badly  made?  Surely 
this  isn't  the  best  you  have  to  send 
us?"  Such  questions  are  difficult 
to  answer. 

To    understand    these    criticisms 

.     .     Kl Ssl \ 

on  colour  and  Cinemascope  in  par- 
ticular. Every  director,  at  every 
press  conference,  was  asked  what 
he  felt  about  them  :  and  of  course 
every  director  made  the  same 
reply :  "  It  depends  on  the  sub- 
ject." This  year  there  was  no  need 
to  ask  such  questions  at  all.  It 
was  obvious  that  the  new  tech- 
niques have  been  largely  assimila- 
ted. They  are  no  longer  considered 
particularly  exciting  in  themselves, 
and  they  do  not  atone  for  weak- 
nesses in  ideas,  stories  or  direction. 
Films  were  shown  at  Cannes  in 

June/July  1957 



colour  and  in  black-and-white;  in 
the  old  standard  proportions,  in 
wide-screen,  in  wider-screen,  and 
in  CinemaScope,  with  and  without 
stereophonic  sound.  But  whatever 
the  format,  one  characteristic  was 
common  to  films  from  almost 
everywhere  :  a  high  percentage  of 
location  shooting,  realism  of  sets 
and  use  of  authentic  exteriors,  are 
no  longer  considered  particularly 
adventurous.  Films  today  are  ex- 
pected to  look  lifelike.  To  give  a 
few  examples.  The  American 
Bachelor  Party  (widescreen  black- 
and-white  :  like  Marty  directed  by 
Delbert  Mann  from  a  Paddy  Chay- 
evsky  script)  drew  a  large  part  of 
its  strength  from  the  authentic 
New  York  atmosphere  of  its  shoot- 
ing. The  Russian  Don  Quixote 
(colour  and  CinemaScope)  gained 
enormously  from  its  lavish  use  of 
exteriors,  its  wide,  rocky  land- 
scapes, as  well  as  its  fine  sets. 
Jules  Dassin's  Celui  Qui  Doit 
Mourir  (black-and-white  Cinema- 
Scope) could  not  have  carried  any- 
thing like  such  a  dramatic  impact 
without  its  extensive  use  of  harsh 
Cretan  landscape.  Nor  is  this  true 
of  large-scale  productions  only. 
Take  Rekava,  for  instance  {The 
Line  of  Destiny :  black-and-white 
standard  screen).  This  is  the  first 
film  from  Ceylon  to  capture  a  truly 
national  flavour,  made  on  a  tiny 
budget  and  with  primitive  facili- 
ties. Nevertheless,  Lester  Peries, 
its  young  director,  has  had  the 
courage  to  break  away  from  the 
studio-bound  conventions  of  the 
Singhalese  cinema,  and  so  has  pro- 
duced a  picture  which  conveys 
charmingly  the  feel  of  life  in  the 
fields  and  villages  of  this  country. 

PEOPLE     OF    THE     RICE     LANDS  "...   JAPAN 

Artificial  and  Enclosed 

It  is  by  comparison  with  films 
like  these  that  our  own  contribu- 
tions seemed  sadly  artificial  and 
enclosed.  A  story  like  High  Tide 
at  Noon  cries  out  for  a  lyrical, 
open-air  treatment :  yet  even  its 
documentary  sequences  seemed 
tame,  and  at  every  possible  oppor- 
tunity we  cut  back  into  studio. 
Outside  a  gale  was  blowing,  but 
the  backing  through  the  window 
remained  solidly  static.  Even 
Yang-tse  Incident,  seen  abroad, 
has  the  same  timid,  conventional 
feel  to  it.  That  final  sequence, 
with  the  ships  racing  joyfully  to- 
wards each  other,  did  my  eyes 
deceive  me,  or  was  there  really  no 
corresponding  movement  on  the 
backing  as  we  jolted  back  to  the 
studio  insert  of  Richard  Todd  on 
the  bridge  of  the  "Amethyst  "  ? 

Technique  is  finally  secondary. 
Agreed.    But  it  is  even  more  dis- 

turbing to  see  how  cut  off  our 
cinema  remains  from  the  move- 
ment of  thought  and  feeling  in  the 
world  outside.  This  was  not  so 
with  most  of  the  films  shown  on 
the  screen  at  Cannes.  Problems  of 
life  in  the  big  modern  cities 
(Bachelor  Party);  problems  of 
adolescence  and  snobbery  (The 
House  of  the  Angel);  conflicts  of 
emotion  and  conscience  (the  Rus- 
sian The  Forty-First);  the  problem 
of  violence  and  exploitation  ( Celui 
Qui  Doit  Mourir);  the  problem  of 
war  ...  Of  course  we  make  war 
films  in  Britain,  plenty  of  them. 
But  how  often  do  they  get  above 
the  level  of  a  boy's  adventure 
yarn?  One  of  the  most  powerful 
films  at  Cannes  this  year  was  the 
Polish  Kanal,  a  tragic  recons1  ruc- 
tion of  the  last  days  of  the  War- 
saw Rising  in  1944,  grim,  pitiless 
and  magnificent.  "  We  do  not  pre- 
sent this  film,"  said  the  Poles,  "  as 
an  exciting  entertainment.  We  pre- 
sent   it    as    a    reminder.     So    that 

such  things  may  never  happen 
again."  Surely  it  is  only  such  a 
basic  attitude  that  can  justify  con- 
tinued production  of  films  about 
the  war. 

Eager  to  Learn 

The  most  encouraging  thing 
about  Cannes  this  year  was  its 
revelation  of  the  amount  of  daring, 
searching  work  being  done  by  film 
makers  all  over  the  world — and  of 
the  rapidity  with  which  the 
younger  industries  are  developing. 
The  Poles  are  eager  to  see  films 
from  abroad,  eager  to  learn  tech- 
niques from  Hollywood.  Yet  if  you 
see  their  films,  you  wonder  what 
they  have  to  learn — beyond  com- 
mercial gloss.  Far  more  impor- 
tant is  the  fact  that  they,  and 
many  others,  have  the  courage 
and  the  capacity  to  tackle  the 
problems  of  today  in  a  really  con- 

(Continued  on  page  90) 



June/July  1957 

temporary  spirit.  And  this  is  what 
makes  exciting,  living  cinema. 

In  such  an  atmosphere  you 
realise,  as  perhaps  it  is  difficult  to 
realise  at  home,  that  the  panic  into 

"  Caberia's    Nights  " 


which  many  of  us  have  been 
thrown  by  the  encroachments  of 
television  is  an  unreal  thing. 

The  cinema  can  only  be  "killed" 
by  TV  if  we  have  enfeebled  it  first 
by  starving  it  of  ideas  and  intelli- 
gence and  passion;  by  continuing 
to  rely  on  "  safe  "  formulae.  The 
British  specialised  distributor  at 
Cannes  who  remarked  that  he  saw 
nothing  of  commercial  interest  at 
the  festival  except  Funny  Face  is 
only  demonstrating  his  own  lack 
of  showmanship  and  imagination. 
The  same  lesson  must  be  learned 
by  all  of  us — writers,  directors, 
producers  and  technicians  to- 

We  can  unship  as  many  boat- 
loads of  starlets  as  we  like  on  the 
beaches  of  Cannes  and  Venice.  But 
our  cinema  will  be  no  nearer  re- 
gaining its  lost  prestige  until  we 
take  it  seriously  ourselves,  and 
bring  it  up  to  date. 


COVER  STILL  is  from  the  Polish 
film  They  Loved  Life,  the  story  of 
the  1944  Warsaw  Rising.  Director : 
Andrej  Wajda. 

Camera  Column 

VOUR  outgoing  Committee  did  a 
I  very  good  job — all  their  meet- 
ings were  very  well  attended  and 
I  think  we  owe  them  a  vote  of 

Your  new  Committee  elected  at 
our  last  Camera  A.G.M.  are: 
Chairman,  Ted  Worringham;  Vice- 
Chairman,  Gerry  Moss;  Secretary, 
Harold  Payne;  Assistant  Secre- 
tary, Manny  Yospa;  Feature  Re- 
presentatives: Ron  Boakes,  Wally 
Byatt,  Phil  Chips,  Bert  Easy, 
Freddie  Ford,  Arthur  Graham,  Bob 
Huke,  Walter  Lasselly,  Bernie 
Lewis,  Morton  Lewis,  Jock  Mills, 
Ron  Robson.  Shorts  and  Docu- 
mentaries: Ken  Gordon,  Lewis 
McL.od,  Alf  Hicks  (this  Com- 
mittee will  co-opt  a  further  five 
members).  Newsreel:        Jimmy 

Gemmell,  Bill  Hooker,  Terry 
O'Brien,   Eddie  Smales. 

You  can  support  your  Com- 
mittee by  turning  up  at  all  general 
Camera  Section  meetings. 


The  General  Council  have  en- 
dorsed our  recommendation  relat- 
ing to  camera  crews  not  covered 
by  existing  agreements  as  follows  : 

1.  SOUND. — Shooting    with    their 

own  sound  unit;  a  crew  of 
four — Cameraman,  Opera- 
tor, 1st  and  2nd  Assistants. 

2.  sound. — Shooting     as      extra 

alongside  unit;  a  crew  of 
three  —  Cameraman,  1st 
and  2nd  Assistants. 

3.  silent. — Exterior        shooting 

which  does  not  involve 
lights,  reflectors  or  artistes, 
a  crew  of  two — Cameraman 
and  1st  Assistant. 

4.  All  other  silent  shooting,  a 
crew  of  three — Cameraman, 
1st  and  2nd  Assistants. 

Now  it's  up  to  you  to  see  that 
these  recommendations  are  carried 

The    Hal    Britton    Fund 

A  cheque  has  been  presented  to 
Mrs.  Hal  Britton  for  £90  8s.  6d. 
She  wishes  to  thank  everybody 
concerned  for  the  kind  thought. 

Good  Work 

I  thought  Cameraman  Jack 
Hilyard  did  a  beautiful  job  on 

The   majority   of   the   public   did 

not  know  the  film  was  made  here, 

or  that  it  was  photographed  by  an 

|   Englishman.     Something  should  be 

done  about  this.  I  have  a  sugges- 
tion :  Why  not  start  a  Camera- 
man's Annual  Award  for  the  best 
colour  and  black  and  white  photo- 
graphy in  the  country.  We  could 
call  it  the  "  Cinette  "...  or  if  you 
have  any  suggestions,  let's  hear 
about  them. 

Commercial  TV 

A  formula  has  been  found — give 
them  good  quality  and  use  the  best 

I  have  just  been  associated  with 
a  series  of  thirteen  15-minute  com- 
mercials for  the  News  of  the 
World,  which  was  well  received  by 
the  clients.  Here  are  the  names 
of  the  camera  crew  that  worked  on 
the  productions  : 

Cameramen:  Henry  Alekan, 
Lionel  Baines,  Desmond 
Dickinson,  Otto  Heller,  Morton 
Lewis,  Cedric  Williams. 
Operators:  John  Breen,  Cec. 
Cooney,  Denys  Coop,  Gus 
Drisse,  Harry  Gillam,  Harold 
Haysom,  Gerry  Moss. 
1st  Assistants:  Peter  Allwork, 
Jimmy  Devis,  Stan  Evans, 
Mark  Hyams,  Gerry  Lewis, 
Keith  Nielsen,  Les  Paul,  Reg 
Selley,  Monty  Tomlinson, 
Brian  West,  Paul  Wilson, 
Manny  Wynn. 
2nd  Assistants:  Ronnie  Fox, 
Revel  King,  Bob  Parker, 
David   Rea,   Jim    Shimerock. 

I  must  apologise  for  not  men- 
tioning the  rest  of  the  technicians, 
but  this  is  a  Camera  column ! 

Plane  Facts 

Desmond  Dickinson  told  me  that 
after  shooting  was  finished  he  was 
going  to  Paris  for  a  few  days.  I 
suggested  that  the  accountant 
could  buy  his  flight  ticket  from  his 
salary  and  thus  save  tax.  He 
answered  :  "  Thanks  very  much, 
but  I  have  my  own  plane." 

Of  course,  the  story  has  another 
ending.  We  wanted  him  for  a 
fortnight's  shooting  at  a  later  date 
but  he  was  somewhere  in  France. 
After  calling  four  airports  he  was 
located,  agreed  to  come  back  (be- 
cause his  plane  had  broken  down, 
and  the  money  was  good) — if  we 
paid  his  air  fare.     And  we  did! 

Foreign   Assignments 

Cameraman    Cedric    Williams   is 
in    Western    Nigeria   for  their   In- 

June/July  1957 



formation  Service.   I  understand  he 
will  be  there  for  twelve  months. 

Cameraman  Ben  Hart  has  prac- 
tically settled  down  in  Nairobi  as 
a  Producer/Director,  and  if  you 
happen  to  wander  around  through 
the  jungles  of  Kenya  you'll  most 
likely  bump  into  Cameraman 
Bernard  Kunicki  shooting  game — 
with  a  camera — for  the  govern- 


I  had  occasion  to  visit  the 
Billancourt,  Paris,  Studios,  w'.^re 
I  saw  a  fashion  show  being  shot 
for  a  British  TV  commercial. 
Cameraman  Henry  Alekan  turned 
in  a  beautiful  job  on  a  Dupont 
Superior  No.  2.  Picon  Borel  was 
the  operator  and  the  Assistant 
Mike  Mickachosky.  I  didn't  get 
the  Loader's  name.  They  were  so 
busy  he  never  left  the  dark  room ! 

While  I  was  in  Paris  I  bumped 
into  Colonel  Thornton  Freeland, 
who  used  to  work  here  before  the 
war.  He  was  producing  and 
directing  a  documentary  for 
the  U.S.  Government  through 
S.H.A.P.E.  It  was  a  nice  set-up  : 
three  camera  units  and  350,000 
dollars  just  to  show  Paris  to  the 
Yanks.      Some   documentary ! 

British  National  Studios 

There  are  two  TV  series  on  the 
floor.  The  Charlie  Chan  series  is 
being  photographed  by  Ken  Talbot 
who,  I  understand,  is  in  the  run- 
ning for  the  title  of  the  "  Most 
Handsome  Cameraman  ".  Opera- 
tor— Gus  Drisse — who  is  not  in  the 
running.  Assistant  Cameraman : 
Wally  Byatt;  Loader:  Michael 

The  other  series  entitled  O.S.S. 
or  Office  of  Strategic  Service,  or 
the  M.I. 5  of  U.S.A.  is  being 
photographed  by  Brendan  Stafford, 
"  whose  hair  is  turning  silver ". 
Operator  :  Leo  Rogers.  Assistant : 
Monty  "  Tiny  "  Tomlinson.  Peter 
Burke — and  no  cracks.  And  the 
Camera  Department  is  still  under 
the  supervision  of  Terry  (Limited 
Company)  Turtel. 


That  not  enough  Camera  Section 
Members  turned  up  at  the  A.G.M. 
I  am  sure  if  you  tried  you  could 
make  it,  so  start  training  for  next 
year's  A.G.M. 

"  Viewfinder" 


Pictorial  record  of  Edwardian  era. 
Complete  set  of  "  Ladies'  Field  " 
1898-1908.  Can  inspect  London 
Office.  Sell  £12  or  offer.  Box  209, 
Charles  Sell,  5-6  Red  Lion  Square, 
London,  W.C.I. 

Experimental  Production  Fund 


May  I,  through  the  courtesy  of 
your  journal,  give  some  informa- 
tion to  your  readers  about  an 
activity  which  I  believe  to  be  im- 
portant to  the  future  of  British 
film-making :  the  work  of  the 
British  Film  Institute's  Experi- 
mental Production  Fund. 

The  Fund  was  set  up  with  money 
voted  by  the  film  trade  Associa- 
tions from  the  pre-statutory  British 
Film  Production  Fund  at  the  time 
of  the  establishment  of  the 
National  Film  Theatre.  It  is  ad- 
ministered by  a  Committee  set  up 
by  the  Governors  of  the  British 
Film  Institute.  In  the  four  years 
since  its  inception,  the  Committee 
has  produced,  or  helped  to  produce, 
ten  films — among  them  The  Door 
in  the  Wall,  Indian  Fantasy, 
Momma  Don't  Allow,  Rowlandson's 
England,  A  Short  Vision  and 

We  continue  to  look  for  promis- 
ing projects.  Our  normal  pro- 
cedure is,  in  the  first  instance,  to 
consider  outline  treatments  with 
an  approximate  budget  :  we  prefer 
them  to  come  from  people  with 
some  amateur  or  professional 
knowledge  of  film  production  but 
this  is  not  an  invariable  rule.  Film- 
makers are  not  paid — we  provide 
stock,  equipment,  facilities — but 
they  share  in  the  revenue  from  the 

We  are  interested  in  genuinely 
experimental  work  but  have  no 
preference  between  experiments  in 
style,  technique  or  subject.  The 
films  may  be  made  on  16mm.  or 
35mm.        but        ideas        requiring 

elaborate  technical  means  usually 
have  to  be  rejected  because  of 
costs :  potential  applicants  should 
bear  this  in  mind. 

I  hope  you  will  agree  that  the 
work  of  the  Committee  in  finding 
and  encouraging  talented  young 
film-makers  is  important  and  help 
us  by  bringing  it  to  the  notice  of 
your  readers. 

Yours  faithfully, 

Chairman,  B.F.I.  Experi- 
mental Production  Fund. 


Freddy  Ford's  second  son, 
cameraman  Bernard  Ford,  was 
married  at  the  end  of  May  at 
Eastcote  to  Miss  Celia  Marilyn 
Potts,  of  Ilfracombe. 

Bernard  Ford  was  cameraman 
at  Pinewood  Studios  on  Tame  as  a 
Turtle,  A  Town  Like  Alice,  An 
Alligator  Named  Daisy  and  Reach 
for  the  Sky,  including  special 
effects.  His  current  picture  is 
Campbell's  Kingdom. 

Miss  Potts,  who  is  an  all-round 
sportswoman  and  local  tennis 
champion,  was  Beauty  Queen  at 
Ilfracombe  in  1954. 


We  are  glad  to  see  cameraman 
Cyril  Knowles  back  in  harness 
after  his  recent  illness. 

His  work  on  High  Flight  was 
first  class. 


FILM  EDITOR  (known  locally  as  Film  Production  Officer)  required  by 
Federal  Government  of  Nigeria  for  Film  Production  Unit,  Information 
Service,  on  contract  for  18/24  months  in  first  instance.  Salary  accord- 
ing to  experience  in  scale  (including  inducement  addition)  £1,170  rising 
to  £1,488  a  year.  Gratuity  at  rate  £150  a  year.  Outfit  Allowance  £60. 
Liberal  leave  on  full  salary.  Free  passages  for  officer  and  wife.  Grant 
up  to  £150  annually  for  maintenance  of  children  in  U.K.  Free  passages 
for  children  up  to  cost  of  two  adult  return  fares.  (It  is  thus  often 
possible  for  an  officer  whose  children  are  being  educated  in  the  U.K. 
to  arrange  for  them  to  spend  two  or  more  school  vacations  in  West 
Africa  with  free  passages).  Candidates  must  be  experienced  in  editing 
to  final  stage  both  16mm.  and  35  mm.  documentary  and  educational  films 
and  must  have  the  ability  to  lay  dialogue,  commentary,  music  and  effects 
tracks.  A  knowledge  of  film  processing  would  be  an  advantage.  Write 
to  the  Crown  Agents,  4  Millbank,  London,  S.W.I.  State  age,  name  in 
block  letters,  full  qualifications  and  experience  and  quote  M3B/35002/CY. 



June  July  1957 

Not  So  Free  Cinema 

FILM  technicians,  being  cynics, 
will  not  need  to  be  told  that 
"  Free  Cinema  "  doesn't  mean  any- 
thing of  the  kind.  In  fact  the  Bri- 
tish Film  Institute,  which  on  the 
whole  does  a  useful  job  of  work, 
deserves  a  smart  kick  in  the  pants 
for  applying  such  a  stupid  generic 
title  to  films  which  it  finances  from 
a  special  fund  to  aid  experiments 
in  the  medium  which  might  not 
otherwise  find  financial  backing. 

By  "  free ",  the  Institute  pre- 
sumably means  films  that  are  not 
sponsored,  tied  or  restricted  by 
financial  or  any  considerations 
other  than  the  pure  flow  of  the 
creative  spirit.  This  makes  non- 
sense of  the  new  "  free  cinema  " 
programme  at  the  National  Film 
Theatre  where  the  piece  de  resis- 
tance is  a  film  financed  by  the 
Ford  Motor  Company,  but  more  of 
this  later. 

Occasional    Enlightened 


There  is,  of  course,  no  such  thing 
as  "  free  cinema  ",  but  there  is  to 
be  found  occasionally,  and  much 
too  occasionally,  an  enlightened 
sponsorship,  whether  from  Ford's 
or  the  British  Film  Institute, 
which  is  prepared  to  give  a  rela- 
tive freedom  to  the  creative  film 
maker,  and  lest  there  be  any  mis- 
understanding, the  more  this  hap- 
pens the  better  for  the  health  of 
our  industry.  This  being  said,  the 
"  free  "  film  makers  must  be  pre- 
pared to  take  criticism.  Unfor- 
tunately some  orthodox  critics, 
punch-drunk  with  years  of  review- 
ing the  standard  commercial  pro- 
duct, are  inclined  to  throw  over- 
board any  critical  sense  that  may 
remain  to  them  and  shout  "  Halle- 
lujah "  when  the  "  free  cinema  " 
boys  come  to  town. 

This  frame  of  mind  does  no  good 
to  anybody.  Early  British  docu- 
mentary which  pre-dated  "  free 
cinema  "  by  twenty  years  or  there- 
abouts, fought  for  favourable 
notices  but  also  thrived  on  criti- 
cism and  its  inheritors  must  learn 
to  do  the  same. 

The  new  programme  "  Free 
Cinema  Three — Look  at  Britain  " 
features  two  films,  Nice  Time  and 
Evert/  Dun  Except  Christ  mux.  The 
former  is  made  by  Claude  Goretta 
and  Alain  Tanner  and  purports  to 
be     an     impression     of     Piccadilly 

Circus  on  any  Saturday  night.  It 
is  really  beyond  analysis  because 
it  is  so  much  a  personal  viewpoint. 
To  anyone  who  recalls  Ruttmann's 
Berlin  (1927)  it  would  seem  to  be 
a  dull  and  uninspired  exercise  in 
peep-hole  manipulation,  although 
it  has  its  flashes  of  perception  as 
when  the  National  Anthem  of  the 
closing  cinemas  is  played  against 
the  giant  hypnotising  neon  lights 
of  Coco-Cola. 

"  Every  Day  Except  Christinas  " 

The  more  important  work  of  the 
two  is  Lindsay  Anderson's  Every 
Day  Except  Christmas,  which  as  I 
mentioned  earlier,  was  financed  by 
Ford's,  whose  only  condition,  I  be- 
lieve, was  that  the  film  should 
involve  transport.  My  recollection 
is  that  the  old  Gas  Company  adop- 
ted a  far  more  "  free  "  policy  in 
the  thirties  when  it  financed  that 
shattering  social  documentary 
Housing  Problems  without  insist- 
ing that  it  should  be  a  film  in- 
volving gas  ovens. 

Lindsay  Anderson's  film  is  about 
Covent  Garden  Market  and  within 
the  limitations  he  has  imposed 
himself  on  the  conception  and 
shaping  of  his  theme,  it  is  an  im- 
pressive if  much  over-long  exer- 
cise in  a  style  of  documentary  film- 
making which  was  once  fashion- 
able but  has  recently  been  out  of 
favour.  Its  impact  owes  much  to 
the  brilliant,  uninhibited  camera 
movements  of  Walter  Lassally  and 
it  is  a  pity  that  the  sound  track 
does  not  have  the  same  mastery  of 
intention  and  achievement  as  the 
camera  work. 

In  the  programme  notes  handed 
out  at  the  Press  Show  there  is  a 
long  piece  by  Lindsay  Anderson 
stating  what  he  was  and  was  not 
trying  to  do  in  this  film.  He  was 
not  "  trying  to  make  an  informa- 
tion film,  or  an  instructional  film 
or  a  picturesque  film."  He  goes  on 
to  say  :  "  I  feel  that  at  the  moment 
it  is  more  important  for  a  progres- 
sive artist  to  make  a  positive 
affirmation  than  an  aggressive 
criticism."  And :  "  It  is  in  the 
light  of  my  belief  in  human  values 
that  I  have  endeavoured  to  make 
this  film  about  Covent  Garden 

So  his  film  must  be  judged 
against  his  intentions.  Whether  the 
film  of  aggressive  criticism  (Hous- 
ing Problems  again)  is  more  im- 
portant   than    the    "  positive    affir- 

mation "  can  be  argued  another 
time.  The  only  positive  affirmation 
in  Every  Day  Except  Christmas  is 
that  the  workers  in  the  Market  are 
splendid  people,  warm,  human, 
expert  at  their  craft,  the  Salt  of 
th^  Earth.  Between  them,  Ander- 
son and  Lassally  have  proved  this 
point  nobly. 

But  is  it  enough?  Grierson  and 
his  group  proved  the  same  thing 
in  other  fields  twenty  years  ago. 
often  with  much  keener  penetra- 
tion. Is  Lindsay  Anderson  satis- 
fied with  proving  it  all  over  again? 
Where  does  the  film  of  human 
values  go  from  here?  When  the 
next  step  can  be  taken,  when 
human  values  can  be  related  to 
the  H-Bomb  world  we  live  in  or 
may  soon  die  in,  it  won't  matter 
whether  we  call  it  free  cinema  or 
anything  else  because  the  aggres- 
sive criticism  and  the  positive 
affirmation  will  be  fused  into  a 
new  kind  of  cinema  that  will  be 
worth  shouting  about. 

I  hope  Lindsay  Anderson  will  go 
on  trying. 


{See     also     Sir     Michael    Balcon's 
letter  on  page  91) 


invite  you  to  join  them  on 

their    Riverboat    Shuffle 

on    Friday,    July    5th 

Depart  7.45  p.m.  Westminster  Tier 

No   Passports  needed!    .   .    .   Bring 
your    own    Mae    West ! 

Dancing  .  .  .  Fully  licensed 

Tickets   12  6  each   obtainable    from 
A.C.T.T.   Head   Office 

E.M.I.  TR51A 

Latest  portable  kin.  high  quality 


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Also  S.T.C.  CARDIOID  ami 
PENCIL  microphones  and 
12  volts  VIBRATOR  PACK 

FILM  PARTNERSHIP  -  EL'Ston  5292 

June/July  1957 



General  Council  in  Session 


A.C.T.T.  is  to  suggest  to  the 
F.I.E.C.  that  it  considers  prepara- 
tion of  a  report  for  the  Monopolies 
Commission  on  monopoly  in  the 
entertainment  industry,  as  a  result 
of  the  emergency  resolution  unani- 
mously passed  at  the  annual 
general  meeting  in  March.  This 
was  decided  on  at  a  special  General 
Council  meeting  on  May  29th, 
called  to  deal  with  outstanding 

Decisions  on  the  other  resolu- 
tions were  as  follows  : 
MEMBERS  AT  AGM's:  The  Rules 
Revision  Committee,  together  with 
the  three  Executive  members  from 
TV,  should  go  thoroughly  into  the 
problem,  co-opting  members  where 
required;  they  would  study  rules  of 
other  Unions  with  similar  prob- 
lems, but  would  not  necessarily  be 
expected  to  produce  one  solution — 
if  necessary,  they  could  put  for- 
ward two  or  three  methods  of 

cellor of  the  Duchy  of  Lancaster 
had  received  a  deputation,  led  by 
the  General  Secretary,  on  May  14th 
and  told  them  that  the  question  of 
Government  expenditure  on  film 
services,  particularly  overseas  ser- 
vices, had  been  reviewed  and  the 
amount  increased  by  f 80, 000;  a 
further  review  was  in  progress. 
The  deputation  also  stressed  the 
need  for  increased  use  of  TV  and 
for  a  revival  of  the  Crown  and 
Colonial  film  units,  and  the  Chan- 
cellor agreed  to  bear  in  mind  all 
that  A.C.T.T.  had  said,  when  he 
made  his  report  to  the  Cabinet. 
The  Council  agreed  that  the  Films 
Committees  of  both  the  Govern- 
ment and  Opposition  be  advised  of 
these  talks  with  the  Chancellor 
and  that  they  be  asked  to  press  the 
matter  at  the  appropriate  time. 


Legislation  Committee  reported  on 
ways  of  publicising  A.C.T.T.'s 
general  film  policy,  including 
getting  a  prominent  member  to 
help  publicise  it  through  the  Press, 
Radio,  TV  and  with  other  Trade 
Unions;  the  extension  of  Trades 
Council  affiliation  would  also  give 
added  publicity,  and  a  panel  of 
speakers    was    considered,    to    be 

available  to  speak  to  Labour 
Parties,  Trades  Councils,  Co-opera- 
tive organisations.  Chambers  of 
Commerce,  etc.  The  Council  also 
agreed  to  seek  a  further  meeting 
with  the  Parliamentary  Labour- 
Party  Films  Committee  to  review 
the  present  position  and  discuss 
further  steps,  as  well  as  meeting 
the  Conservative  Films  Committee 
on  some  points. 

TION: A  number  of  points  regard- 
ing the  growing  unfair  competition 
in  this  field  f  film  production  from 
companies  not  observing  the 
A.C.T.T.  agreements  had  been 
considered  by  the  Eecutive,  and  it 
was  agreed  that: 

1.  A  copy  of  the  resolution  should  be 
sent  to  all  Shop  Stewards,  asking 
them  to  inform  Head  Office  of  any 
cases   which   come   to   their   notice. 

2.  The  A.S.F.P.  should  be  ap- 
proached again  with  the  idea  of  a 
Trade    Union    label. 

3.  A  Sub-Committee  should  be 
formed  to  help  an  Organiser  col- 
lect new  facts  on  the  companies 
not  observing  the  agreements  and 
the  films  they  made,  in  order  to 
provide  solid  evidence  to  take  to 
the  A.S.F.P.  The  Sub-Committee 
to  take  evidence  from  Laboratory 
and  TV  members  on  the  companies 
they   were   doing   work   for. 

It  was  also  agreed  that  the  Pro- 
gramme Contractors  and  TV  mem- 
bers be  kept  fully  informed  of  any 
"  blacked  "  work  of  this  character. 

COGNITION IN  TV:  When  con- 
sidering this  resolution  the  Execu- 
tive, after  careful  consideration, 
agreed  that  the  best  policy  at  the 
moment  was  to  concentrate  on 
achieving  an  agreement  with  the 
Television  Programme  Contractors, 
after  which  the  B.B.C.  should  be 
tackled  again. 


Our  members  at  Colour  Film  Ser- 
vices were  asked  to  prepare  a  case 
for  the  inclusion  of  Kodachrome  in 
the  Tripack  agreement,  and  the 
Shop's  case  for  a  higher  rate  was 
endorsed  by  the  Laboratory  Com- 
mittee; after  discussion  it  was 
agreed  that  the  matter  be  pursued 
locally  at  first,  and  that  in  the 
meanwhile,  the  General  Secretary 
be  asked  to  investigate  the  results 
of  litigation  against  Kodak  in  the 
U.S.A.  under  the  Anti-Trust  Laws. 

FORTY-HOUR  WEEK:  The  terms 
of  this  resolution  were  endorsed  by 
the  Council,  and  it  was  agreed  to 
press  the  matter  whenever  nego- 
tiating new  agreements. 

SCHEME:  It  was  agreed  to  ask  a 
Sub-Committee  to  investigate  not 
only  the  existing  pension  schemes 
in  the  industry,  but  also  the  wider 
question  of  a  National  Pension 

BILL  SHARP:  It  was  reported  at 
the  June  meeting  of  the  General 
Council  that  this  long-standing 
member  of  A.C.T.T.  had  retired  on 
pension  from  A.B.  Pathe,  and,  in 
recognition  of  his  long  and  sterling 
service  to  A.C.T.T.,  it  was  agreed 
that  a  small  party  be  held  in  his 
honour,  at  which  he  be  presented 
with  a  cheque  and  a  scroll  of 
Honorary  Membership. 



AGENCY  LTD.:  Mr.  K.  N.  Dick, 
Managing  Editor  of  the  Agency, 
in  an  interview  with  Bert  Craik, 
said  that  a  number  of  A.C.T.T. 
members  employed  in  the  Cutting 

(Continued  on  page  94) 

Camera  Hire 

(1)  NEWMAN  SINCLAIR— Mirror  Shutter. 
All  Cooke  Lenses  including  Series  2., 
25mm.,  f.1.7.  SINGLE  FRAME  EXPOSURE 
and  Electric  Motor  Drive.  (Available  fully 
adapted  for  CINEMASCOPE  if  required.) 

(2)  NEWMAN  SINCLAIR— Mirror  Shutter. 
Cooke  Lenses  and  24mm.  Angineux  Retro- 

(3)  NEWMAN  SINCLAIR— Model  G.  All 
and  Electric  Motor  Drive  if  required. 

Kingston   Tubular   and    Vinten    Light    Gyro 


18mm.    COOKE      RETROFOCUS    fl.7. 

for     Mirror     Shutter    and     Model     'G' 



Metal  construction,  pneumatic  tyres,  drop- 
down jacks,  lightweight  tracks,  etc. 


FINchley  1595 



June/July  1957 

Department  for  Paramount  News 
had  been  transferred  to  the  Agency 
pay-roll  and  would  be  paid  under 
the  terms  of  the  Newsreel  Agree- 
ment. The  Company  was  set  up 
to  supply  a  world-wide  News  Film 
service,  available  to  anyone  in- 
terested. Processing  would  be 
done  at  the  Rank  Laboratory, 
Acton.  The  organisation  was  still 
in  its  development  stage,  and  if  it 
prospered  as  anticipated,  the 
Agency  had  in  mind  offering  a 
seven-day  service  round  the  clock 
which  might  necessitate  shift  work 
in  the  Cutting  Rooms.  The  Coun- 
cil agreed  that  the  TV  Producer/ 
Directors'  Section  and  all  TV  Shop 
Stewards  be  advised  to  watch  for 
any  material  coming  from  this 
agency  and  let  Head  Office  know 
if  the  material  is  going  to  a  TV 
Company.  Also,  Head  Office  should 
advise  the  Agency  that  at  this 
stage  we  are  not  prepared  to  com- 
mit ourselves  to  agreeing  that  all 
work  of  this  nature  would  neces- 
sarily come  under  the  terms  of  the 
Newsreel  Agreement. 

TELEVISION:  Since  the  last  re- 
port Paddy  Leech  had  spent  a 
week-end    in    Manchester    at    the 

A. B.C.  Television  Studios.  A  large 
number  of  individual  cases  are 
being  taken  up,  and  our  member- 
ship here  is  growing  stronger  in 
numbers  and  more  conscious  of 
what  can  be  won  by  Union  action. 
In  A.R.T.V.  an  individual  claim 
on  behalf  of  a  Production  Assis- 
tant has  been  won.  Union  repre- 
sentations have  also  resulted  in 
two  more  redundant  Control 
Operators  being  re-engaged.  The 
Executive  Committee  agreed  that 
the  General  Secretary  should  write 
to  the  T.V.P.C.A.  to  the  effect  that, 
unless  the  Agreement  is  signed  and 
operating  by  July  1st,  strong 
action  will  be  taken  to  obtain  a 

APPRENTICES:  Our  members  at 
this  unit  ask  the  Executive  to 
open  up  negotiation  <  with  the 
Management  with  regard  to 
apprenticeship.  They  are  not  satis- 
fied that  their  scheme  is  working 
satisfactorily.  One  meeting  with 
the  A.S.F.P.  was  held  but  the 
problem  is  still  unresolved.  The 
Executive  instructed  the  Organiser 
to  press  for  a  meeting  with  the 

"  A    King   in    New    York  " 

Charlie  Chaplin's  still  camera- 
man on  A  King  in  New  York,  a 
picture  from  which  appeared  on 
our  cover  last  month,  was  Eric 

require  Writers  and  Directors  for 
Documentary  and  Entertainment 
Films.  Write  stating  experience  to 
A.  T.  Burlinson,  Guild  House, 
Upper    St.    Martin's    Lane,    W.C.2. 


don't  take  risks 


start  wearing  at  once  a 


(Better  than  Briefs) 
Send  7/6  and  waist  measurement  to: 


Dept.  A.S.,  KEIGHLEY 



(Postage  inland  1/4) 

The  Big  Book  of  Photography 





[Postage  inland  I  4 

This    98th    edition    consists    of  400,000    COPIES 

lliis  cyclopaedic:  annual  again  presents  to  all  photographically-interested  people 
every  item  of  information  to  enable  them  to  keep  abreast  of  the  photographic 
world — an  ever  increasing  world  of  domestic,  scientific  and  industrial  achievement. 

Obtainable  from  your  Bookseller,  Photographic   Dealer,  or  direct  from  the  Publisher  \ : 

HENRY    GREENWOOD    &    CO.,    LTD. 

24  Wellington  Street,  Strand,  London,  W.C.2  Phone:   TEMple  Bar  5330   &  7555 

June/July  1957 







'f  f  61 






Sf°c*s  a.         ~*  0f#Ws. 


0;>  tfe  r 


Sf°cJt  6 


^ree  of  nr„_  ^  /lor 























GEVAERT    LIMITED  Mot/on  Picture  Department 
GREAT    WEST    ROAD     -      BRENTFORD     •     MIDDLESEX 

EALing    3488 



June  July  1957 











Original  story  by  Nigel  Kneale 

Screenplay  by  Nigel  Kneale  and  Val  Guest 

Produced  by  Anthony  Hinds :  Directed  by  Val  Guest 

A  Hammer  Production 

Executive  Producer  —  Michael  Carreras 

Director  of  Photography  —  Gerald  Gibbs 

35mm  cine  negative  film 

ILFORD  LIMITED,  Cine  Sales  Department,  104  High  Holborn,  London,  W.C.\.  Telephone:  HOLborn  3401 

Published  by  the  Proprietors,  The  Association  of  Cinematograph,  Television  and  allied  Technicians,  2  Soho 
Square,  London,  and  Printed  by  Watford  Printers  Limited.  Watford.  Herts. 



Association    of    Cinematograph,    Television    and    allied    Technicians 
Vol.  23  No.  153  PRICE  6d. 

F I LM  and  TV 



Anthony  Asquith  directing 
"  Orders  to  Kill  " 

[Still  by  John  Jay] 



October  1957 


■  ■ 

Apart  from  the  superlative  print  quality  you  obtain  from 
Gevaert  Fine  Grain  Positive,  the  very  large  sizes  of  the 

batches,  the  freedom  from  annoying  mechanical  defects 
and  the  utter  reliability  of  the  material  will  appeal 

to  you.   One  million  feet  for  16  mm.  and  two 
million  feet  for  35  mm.  are  smallish  batches  for  Gevaert. 


GEVAERT   LIMITED,   Mot/on  Picture  Department 

GREAT       WEST       ROAD  BRENTFORD  MIDDLESEX       •      EALing     3488 

October  1957 


H*  Museum  of  Modw*  ^ 



DOES  the  Board  of  Trade  want  a  healthy 
British  film  industry,  or  could  it  not  care 
less?  Is  it,  in  fact,  aware,  even  now  that  the 
making  of  films  is  one  of  the  country's  essential, 
repeat  essential,  industries? 

The  answer,  of  course,  should  be  an  unquali- 
fied '  yes  ',  but  recent  happenings  in  connection 
with  British  production  facilities  make  one  pause 
and  wonder. 

A.C.T.T.  members  will  recall  that  in  the  spring 
of  last  year  the  six  Trade  Unions  concerned  with 
film  production  were  asked  for  their  views  on  the 
measures  necessary  to  help  the  industry.  Among 
the  many  points  covered  in  the  Unions'  reply 
was  the  question  of  shortage  of  studio  space. 
We  pointed  out  that  the  studio  facilities  then 
existing  were  far  from  adequate  while  the 
demand  for  studio  space  would  undoubtedly 

Our  advice  on  this  point  went  unheeded  at 
the  time. 

A  month  ago,  A.C.T.  Films,  faced  with  the 
problem  of  finding  studio  space  for  a  forth- 
coming production,  raised  the  matter  with  the 
President  of  the  Board  of  Trade. 

"  I  have  been  instructed  by  my  directors,"  the 
General  Manager  of  A.C.T.  Films  wrote,  "  to 
draw  your  attention  to  the  very  serious  situation 
that  has  now  arisen  concerning  the  availability 
of  adequate  studio  space  for  the  production  of 
British  films.  This  situation  is  particularly  grave 
for  the  smaller  independent  producers  such  as 
ourselves,  and  we  believe  that  we  are  not  the 
only  company  of  this  type  to  be  experiencing 
this  problem  at  the  present  moment. 

"  Several  months  ago  we  drew  the  attention 
of  various  authorities  to  our  fears  that  such  a 
situation  would  eventuate,  but  we  were  informed 
that  there  was  no  reason  to  suppose  that  a  studio 
shortage  of  any  serious  proportions  would  arise. 

"  We  believe  that  the  current  situation  is 
partly  caused  by  the  closing  down,  for  structural 
reasons,  of  a  number  of  stages  at  Shepperton 
Studios.  This  has  meant  that  several  produc- 
tions which  were  to  go  into  Shepperton  have  had 
to  be  accommodated  elsewhere,  with  the  result 
that  accommodation  that  might  normally  have 
been  available  to  companies  such  as  ourselves  has 
now  been  booked. 

"  This  shortage  is  also  tending,  we  believe,  to- 
wards an  increase  in  studio  rentals  and  this 
again  will  present  an  additional  burden  to  the 
producers  of  modest  budget  films. 

"  We  would  beg  to  suggest  that  the  whole 
matter  should  be  reviewed  by  your  Department 
or  the  Cinematograph  Films  Council  or  some 
other  appropriate  body  as  a  matter  of  urgency." 

We  understand  that  the  Board  of  Trade,  in  its 
reply  to  this  approach,  took  its  stand  on  a  state- 
ment made  by  the  President  of  the  Board  of 
Trade  in  February  1955  in  which  he  said:  "I 
must  make  it  plain  that  I  have  no  responsibility 
for  the  erection  or  sale  of  individual  film  studios. 
The  Government's  policy  for  the  film  industry  is 
carried  out  on  a  much  broader  basis."  The  view 
of  the  Board  of  Trade  is,  apparently,  that  a 
review  of  studio  space  would  not  serve  any  useful 

No  useful  purpose  ?  Is  the  encouragement  of 
the  smaller  independent  producers  to  make 
British  films  for  showing  not  only  to  Britain  but 
to  the  world  a  "  useful  purpose  "  or  is  it  not? 

Is  the  Government  aware,  too,  that  there  is  a 
growing  tendency  to  use  film  for  the  making  of 
Television  programmes  ?  It  is  already  clear  that 
American  Television  producers  are  turning  in- 
creasingly to  film  because  in  this  way  they  can 
sell  a  television  programme  not  once  but  several 
times.  In  Britain  we  shall  be  faced  with  the 
alternatives  of  doing  the  same  or  seeing  our  tele- 
vision screens  become  more  and  more  Ameri- 
canised while  British  TV  programmes  are  scarcely 
seen  abroad  at  all.  Is  encouraging  British 
television  a  useful  purpose  or  is  it  not?  The 
Board  of  Trade  must  think  again — and  think 



Editorial  Office: 

%  Soho  Square,  W.l 

Telephone:  GERrard  8506 

Advertisement  Office: 

5  and  6  Red  Lion  Square,  W.C.I 

Telephone:  HOLborn  4972 



October  1957 


The  article  printed  below  was  contributed  by  GEORGE  ELVIN  to  the 
fiftieth    anniversary    edition    of    the    KINEM ATOGRAPH    WEEKLY,    to 

whose   Editor  we  are  indebted   for  permission   to  reproduce  it  here 

ANE  of  these  days  we  shall  pre- 
"  sumably  reach  agreement  on 
the  overall  case  for  the  production 
and  exhibition  of  British  films  and 
how  to  fulfil  it,  but  ever  since  my 
association  with  the  industry  a 
handful  of  people  and  a  still 
smaller  number  of  organisations 
have  been  battling  against  all 
comers — including  those  sup- 
posedly favouring  British  film  pro- 
duction— either  to  stop  the  indus- 
try dying  or  at  least  to  permit  it 
to  continue  just  ticking  over. 

In  no  other  industry  (and  mak- 
ing films  is  as  much  an  industry 
as  most  other  pursuits)  would 
home  producers  continue  to 
tolerate  a  position  whereby  they 
are  very  much  the  junior  partner 
to  imported  product.  Yet  I  have 
seldom  known  British  producers, 
distributors  or  exhibitors  collec- 
tively advocate  policies  which 
would  lead  to  a  substantial  in- 
crease in  British  production.  On 
the  whole  they  have  generally  pur- 
sued lines  to  foster  the  hold  of 
foreign  product  on  British  screens. 


The  same  thing  can  be  said  for 
hybrid  bodies  such  as  the  Cine- 
matograph Films  Council  which 
are  charged  by  Act  of  Parliament 
to  protect  the  wellbeing  of  British 
film  production  and  yet  appear  to 
spend  a  lot  of  their  time  taking 
action  which  to  my  view  has  a 
contrary  effect. 

They  have  never  once,  as  far  as 
I  can  remember,  agitated  for  in- 
creased quota.  They  did  nothing, 
despite  being  urged  to  do  so  by 
the  trade  unions,  to  force  the 
government  to  halt  the  scandal  of 
the  shortage  of  studio  space. 

Where  can  an  independent  pro- 
ducer find  space  today  and  what 
chance  have  we  got  to  hold  our 
own,  let  alone  progress,  with 
Denham  and  a  dozen  or  so  other 
studios    remaining   unavailable. 

Recent  tendencies  are  making 
matters  even  more  cockeyed.  We 
have  now  reached  the  stage  where 
theoretically,      at      least,      British 

quota  can  be  fulfilled  without  a 
single  film  being  made  in  the 
United  Kingdom. 

Indeed,  but  for  the  doggedness 
of  the  trade  unions,  and  particu- 
larly their  determination  not  to 
countenance  British  films  being 
made  other  than  under  the  terms 
of  their  agreements  with  the  em- 
ployers, we  could  have  been  flooded 
with  films  made  in  the  Common- 
wealth and  in  Colonial  territories, 
and  employing  a  substantial  pro- 
portion of  foreigners  supplemented 
by  a  modicum  of  local  labour  and 
yet  still  ranking  for  United  King- 
dom quota  although  using  neither 
our  studios  nor  staff. 

Naturally  I  am  all  in  favour  of 
the  development  of  film  industries 
in  the  Commonwealth  and 
Colonies,   but  not   at   our  expense. 


Recent  kite-flyings  are  even 
more  startling.  We  had  John 
Davis's  speech  at  the  1957  CEA 
Conference  at  Gleneagles  which 
advocated  a  get-together  with 
some  of  the  Continental  countries. 
I  am  all  for  the  entente  cordiale, 
provided  it  is  to  the  common  bene- 
fit of  all  parties  and  at  the  expense 
of  other  imported  films.  But 
rumour  has  it  that  there  is  a 
school  of  thought  in  both  France 
and  Great  Britain  advocating  the 
possibility  of  altering  our  own 
British  quota  to  a  combined  Anglo- 
French  quota,  so  that  French  films 
can  be  shown  over  here  as  if  they 
were  British. 

Kuropean  common  markets  are 
all  very  well  if  they  are  really 
common  markets  and  in  fact, 
build  up  a  genuine  free  trade  area. 
But  the  whole  purpose  is  nullified 
if  that  free  trade  area  merely 
whittles  down  the  small  degree  of 
protection  at  present  reserved  by 
the  British  government  for  wholly 
British  product. 

Fancy  the  British  public  going 
to  the  cinema  and  seeing  a  British 
quota  film,  not  a  word  of  which  it 
can  understand  unless  it  is  dubbed 
or  sub-titled! 

So  as  a  slogan  for  Kine.'s  next 
50  years  I  commend:  "British 
films  for  Britain — and  more  of 

But  these  days  it  is  pointless  for 
the  entertainment  industry  to  talk 
merely  in  terms  of  cinematograph 
films.  There  is  on  the  one  hand 
wholesale  condemnation  of  tele- 
vision by  the  film  industry  and 
yet,  on  the  other,  film  interests  are 
quite  properly  carving  their  own 
niche   in   this  new  medium. 

Now  the  Rank  Organisation  has 
joined  ABC  and  Granada  in  the 
television  field.  Yet  presumably 
our  film  industry  will  continue  to 
breathe  words  of  fire  against  tele- 
vision when  it  is  not  too  busy 
pretending  it  doesn't  exist  at  all. 

One  of  the  best  safeguards  our 
industry  has  had  with  reference  to 
the  impact  of  television  is  the  fore- 
sight of  the  film  trade  unions  who 
have  always  looked  upon  it  as  a 
legitimate  field  of  organisation. 
Not  only,  therefore,  are  the  film 
trade  unions  numerically  strong  in 
that  field,  but  they  have  also  for 
that  very  reason  helped  to  mould 
its  policy  along  the  right  lines. 

TV  Agreement 

To  mention  the  obvious  example, 
the  trade  unions  have  now  reached 
agreement  with  the  programme 
contractors,  albeit  not  without 
some  struggle,  which  will  prevent 
television  production  being  in 
cheap  competition  with  films  in  the 
labour  sense. 

It  is  about  time  other  film  in- 
terests took  an  equally  realistic 
attitude  and  thought  out  and 
sought  out  policies  which  will  en- 
able films  and  television  to  de- 
velop as  complementary  partners 
in    the    entertainment   industry. 

Let  us  hope  that  when  our 
grandchildren  are  asked  to  write 
articles  for  the  centenary  year  of 
Kink,  or  Kine.  and  Television 
Weekly  as  it  will  doubtless  by 
then  be  known-  the  first  fifty 
years  can  be  dismissed  as  the 
nightmare  which  they  have  largely 

On  the  other  hand,  let  us  hope 
that  the  50  years  about  to  begin 
will  be  a  period  in  which  we  have 
all  learned  from  the  mistakes  of 
the  past  and  will  record  the  pro- 
gress of  an  industry  serving  the 
public  in  the  twin  fields  of  cinema 
and  television  providing  an  in- 
creasing number  of  British  pro- 
grammes until  we  can  hold  our 
own  with  ease  with  the  rest  of 
the  world. 

Above  all,  in  doing  this  we  can 
provide  a  service  to  the  British 
public  which  only  a  British  in- 
dustry, because  it  is  British  in  all 
meanings  of  the  word,  can  fulfil. 

October  1957 



A  LTHOUGH  this  year's  T.U.C. 
-^was  in  the  main  quiet  and 
non-controversial,  many  policy  re- 
solutions of  great  importance  to 
the  Trade  Union  Movement  were 
agreed  and  the  fact  that  most  of 
them  were  passed  unanimously  or 
with  large  majorities,  and  without 
the  necessity  of  a  single  card  vote, 
enhances  their  importance. 

Both  the  resolutions  submitted 
by  A.C.T.T.  were  well  received  and 
carried  unanimously. 

Ralph  Bond  moved  our  resolu- 
tion on  the  H-Bomb  and  as  five 
other  trade  unions  had  submitted 
similar  resolutions  we  all  got  to- 
gether and  agreed  to  a  composite. 
The  main  point  of  the  resolution 
was  to  demand  that  H.M.  Govern- 
ment propose  to  the  U.S.A.  and  the 
Soviet  Union  an  immediate  and 
unconditional  suspension  of  all 
nuclear  tests  as  a  first  step  to- 
wards the  banning  of  these 

Public  Demonstration  Urged 

In  concluding  his  speech  Ralph 
Bond  suggested  that  the  General 
Council  of  Congress  should  pre- 
sent the  resolution  to  the  Prime 
Minister,  backed  up  by  an  officially 
called  public  demonstration  in 
which  the  members  of  every 
affiliated  Trade  Union  would  be 
called  upon  to  participate. 

This  suggestion  was  greatly 
applauded  and  our  own  General 
Council  might  consider  following 
it  up  with  a  letter  to  the  Secretary 
of  the  T.U.C. 

George  Elvin  moved  our  second 
resolution  on  restrictions  and 
monopoly  of  the  Press,  which  in- 
structed the  General  Council  of 
Congress  to  take  all  appropriate 
action  to  halt  all  monopolistic 
tendencies  in  the  field  of  publica- 
tion and  reiterated  the  necessity  of 
the  Trade  Union  and  Labour 
movement  retaining  policy  control 
over  its  own  daily  newspaper. 

Another  resolution  of  a  similar 
character  had  been  withdrawn  so 
we  had  a  clear  field  on  this  issue. 

It  is  impossible  to  mention  all 
the  resolutions  considered  by  Con- 
gress, but  we  give  below  a  sum- 
mary of  the  more  important  de- 

On  wages  and  economic  policy 
a  composite  resolution  moved  by 
the  Transport  and  General 
Workers'  Union  and  supported  by 
six  other  unions  was  unanimously 
carried.  It  denounced  the  Tory 
Government's  refusal  to  direct  the 
country's  economic  and  social 
policies,  rejected  wage  restriction 
in  any  form  and  reaffirmed  deter- 
mination, while  prices  and  profits 

The    General   Secretary   and   Ralph   Bond    report 
on  the 


remain  uncontrolled,  to  take  such 
steps  industrially  to  ensure  that 
wages  keep  pace  with  rising  costs. 
It  also  called  on  all  trade  unionists 
to  work  for  the  early  return  of  a 
Labour    Government. 

Congress  wholeheartedly  de- 
nounced the  new  Rents  Act  and 
called  upon  the  next  Labour 
Government  to  repeal  it. 

It  carried  with  enthusiasm  a 
resolution  demanding  an  im- 
mediate and  substantial  increase 
in  Old  Age  Pensions,  reaffirming 
its  belief  that  all  workers  are 
entitled  on  retirement  to  a  mini- 
mum pension  sufficient  at  least  to 
provide  the  necessities  of  life  and 
ensure  a  reasonable  measure  of 

On  the  Health  Service  it  de- 
manded an  end  to  all  charges  on 
prescriptions  and  the  removal  of 
restrictions  on  spending  in  hos- 

On  the  question  of  public  owner- 
ship a  resolution  was  carried  in- 
structing the  General  Council  to 
work  out  a  policy  for  social  owner- 
ship and  to  consult  with  the 
Labour  Party. 

A  resolution  calling  for  public 
ownership  of  the  Machine  Tool 
industry  was  carried. 

European  Common  Market 

Although  there  was  no  resolu- 
tion dealing  with  the  proposed 
European  Common  Market  the 
General  Council  made  it  clear  that 
in  its  opinion  this  country  would 
fare  worse  if  it  kept  outside  the 
free  trade  area  than  if  it  went  in. 
At  the  same  time  the  General 
Council  would  require  firm  assur- 
ances from  the  Government  con- 
cerning the  maintenance  of  full 
employment,  etc.,  although  some 
speakers  pointed  out  that  such 
assurances  even  if  given  were  no 
sure  guarantee.  Congress  was 
obviously  divided  on  this  question 
and  no  vote  was  taken. 

A  special  report  on  the  position 
of  the  "  Daily  Herald  "  was  given 
in  private  session  and  members 
will  now  be  aware  of  the  new 
arrangement  that  has  been  made 
whereby  the  "  Daily  Herald  "  has 
greater  freedom  of  action  although 
undertaking  to  continue  to  support 

the    general    policy    of    the    Trade 
Union   and   the   Labour  movement. 

Coming  back  again  to  inter- 
national affairs,  two  other  resolu- 
tions in  addition  to  our  own  were 
carried.  The  first  demanded  that 
China  should  be  admitted  to  the 
United  Nations,  and  the  second 
called  for  the  establishment  of  a 
United  Germany  to  be  achieved  by 
the  withdrawal  of  all  foreign 
troops  from  Europe  and  the  estab- 
lishment of  a  system  of  collective 
security  involving  all  European 
countries  and  including  the  U.S.A. 
and    the   U.S.S.R. 

International  Solidarity  Fund 

A  special  report  was  also  given 
on  the  proposal  of  the  Inter- 
national Confederation  of  Free 
Trade  Unions  to  create  an  inter- 
national solidarity  fund  and  the 
General  Council  of  the  T.U.C.  has 
set  as  its  target  the  raising  of 
£500,000  during  the  next  three 
years.  It  proposes  to  raise  this 
not  by  asking  for  donations  from 
the  central  funds  of  the  affiliated 
Trade  Unions,  but  by  each  Trade 
Union  urging  its  members  to  con- 
tribute individually  6d.  a  year  over 
the  next  three  years.  It  is  not  a 
statutory  levy  but  Congress  ob- 
viously felt  that  such  a  fund 
should  be  raised,  although  one  or 
two  delegates  were  a  little  dubious 
of  some  of  the  purposes  for  which 
it  is  to  be  used.  Our  own  General 
Council  is  required  to  consider  this 

In  the  elections  for  the  new 
General  Council,  George  Elvin 
received  1,229,000  votes,  but  Tom 
O'Brien  was  again  elected  for  our 

Your  delegates  were  also  able  to 
perform  useful  service  for  A.C.T.T. 
outside  the  Congress  as,  for  ex- 
ample, in  getting  the  immediate 
support  of  N.A.T.K.E.  and  the 
E.T.U.  for  a  telegram  of  protest  to 
the  National  Federation  of  Profes- 
sional Workers  who  we  understand 
were  sympathetically  considering 
the  admission  of  the  Association 
of  Broadcasting  Staffs.  We  made 
it  clear  that  if  the  A.B.S.  was 
accepted  for  the  affiliation, 
N.A.T.K.E.  and  ourselves  would 


Organisers'  Page 


October  1957 



I  AST  month  I  referred  to  the 
J  failure  of  members  who  obtain 
employment  to  notify  Head  Office. 
I  do  not  apologise  for  quoting  the 
following  instance  which  occurred 
during  Bunny  Garner's  absence  on 
holiday.  I  had  been  trying  to 
satisfy  a  studio's  request  for  staff 
and  the  conversation  was  roughly 
as  follows:  "These  are  available 
Miss  A,  Miss  B,  and  Miss  X ". 
There  was  a  burst  of  laughter 
from  the  studio  end  of  the  'phone. 
"  Miss  X  has  been  working  here 
for  the  past  three  months  ".  My 
face  was  slightly  pink.  It  does 
emphasise  the  point  I  have  made 
previously,  that  our  members,  on 
commencing  work,  should  advise 

Congratulations  to  Vivian 
Temple-Smith,  A.C.T.T.  Shop 
Steward  at  Pinewood,  on  his  elec- 
tion as  Chairman  of  the  Joint 
Works  Committee.  This  is  I  be- 
lieve the  first  occasion  at  Pine- 
wood  when  an  A.C.T.T.  member 
has  been  so  honoured.  It  is  a 
fitting  tribute  to  the  sterling  work 
put  in  by  Vivian  in  the  compara- 
tively short  time  that  he  has  been 
our  Steward  there. 

Friends  will  be  pleased  to  hear 
that  Peter  G.  Nash  has  had  a  very 
successful  six  months  as  a  lighting 
cameraman  in  the  Pagewood 
Studios,  Sydney,  Australia.  He 
has  now  gone  to  New  Zealand  to 
work  with  the  New  Zealand  Film 


An  enquiry  recently  into  absen- 
teeism (not,  I  hasten  to  add,  in 
A.C.T.T.  grades,  or  in  fact  in  the 
film  industry  at  all)  asked  a 
worker  concerned  this  question, 
"  Why  do  you  only  work  three 
days  per  week  ?  "  The  reply  was 
"  I  have  discovered  it  takes  that 
much  to  keep  me." 

Hush  Telegraph 

In  all  industries  the  bush  tele- 
graph is  a  well  used  and  respected 
institution,  and  in  films  it  acts  with 
great  speed.  A  meeting  had  been 
held  at  one  studio  to  discuss  a 
location,  details  had  been  dis- 
cussed and  after  E.C.  approval  the 

same  evening  the  company  were 
advised.  The  first  thing  the  next 
morning  was  an  enquiry  from 
another  studio  which  gave  details 
of  what  they  had  heard  had  hap- 
pened. For  once  the  bush  tele- 
graph was  too  quick.  But  it  does 
keep   you   on  your  toes! 

Many  locations  are  at  present 
operating,  and  cover  great  dis- 
tances. One  small  but  undoubtedly 



pleasant  one  is  on  the  "  Queen 
Elizabeth  "  to  New  York  and  back, 
others  are  on  the  Jungfrau  in 
Switzerland,  in  Dublin,  and  on  the 
Virgin  Islands;  others  range  from 
the  Tyrol  to  Brighton. 

A  meeting  was  held  recently  of 
a  location  which  was  proceeding 
abroad  to  elect  Unit  Steward  and 
settle  one  or  two  minor  details. 
This  was  settled  and  I  felt  that  all 
was  well.  A  day  or  two  later  I 
met  an  officer  of  one  of  the  other 
unions  concerned.  It  seems  that 
some  of  his  members  had  signed 
individual  contracts  and  were  as 
a  result  very  much  worse  off  than 
their  colleagues  in  the  other  two 

Individual  contracts  may  look 
very  nice  on  paper  but  on  more 
careful  scrutiny  they  may  well 
show  that  the  worker  is  going  to 
be  the  loser.  In  this  particular 
case  no  A.C.T.T.  personnel  were 
involved,  but  it  should  warn  our 
members  that  the  normal  con- 
ditions laid  down  are  in  their  best 
interests.  In  the  few  grades  where 
individual  contracts  are  specifi- 
cally mentioned  in  A.C.T.T.  agree- 
ments experience  has  shown  our 
members  what  to  look  for,  and  it 
is  well  known  that  these  members 
have  their  contracts  "vetted"  from 
time  to  time. 

Freddy   Ford 

Bunny  Garner  has  passed  on  to 
me  a  letter  from  Freddy  Ford  who 

is  working  in  Canada  as  Director  of 
Photography  in  Regal  Films, 
Toronto,  which  I  think  members 
will  like  to  read.     He  writes: 

Many  thanks  for  placing  me  on 
the  list  for  the  above  situation. 
I  am  delighted  at  being  here  to 
photograph  the  first  black  and 
white  CinemaScope  feature  being 
produced  in  this  country  by  a 
Canadian  company. 

I  never  thought  I  should  have 
an  opportunity  of  shooting  a 
modern   cowboy  story. 

I  have  a  complete  crew: 
Operator  Jackson  Samuels  (Cana- 
dian), 1st  Assistant  Manny  Alpert 
(American),  2nd  Assistant  Don 
McMillon  (Canadian),  3rd  Assis- 
tant Ted  Winters  (Canadian), 
Clappers  Loader  Denny  Murphy 
(Canadian)  and  two  Grips 

Just  returned  from  our  first 
week's  shooting  on  location, 
"  Owen's  Sound,"  Georgian  Bay. 
Real  cowboys,  ranches,  horses, 
cattle  and  gun-running  bandits,  in- 
cluding the  old  sheriff  in  this  film. 
The  cast,  actors  from  Hollywood, 
Alison  Hayes,  Jim  Davis,  John 
Hart  (of  The  Last  of  the  Mohicans 
fame),  Tony  Brown  (The  Boy  and 
His  Dog),  Austin  Willis  and  many 
other  featured  players.  Saw  some 
of  the  rushes  on  Saturday. 
Apparently  the  Director,  Sam 
Newfield,  is  delighted  with  the 
photographic  quality.  The  boss, 
Mr.  S.  Newfeld,  had  a  representa- 
tive from  20th,  Hollywood,  visit 
the  studio  to  view  our  efforts,  he 
sent  me  congratulatory  messages. 
The  star,  Alison  Hayes,  has  re- 
ceived another  contract  from  the 
company  because  of  her  good 
looks  and  performance,  she  also 
thanked  me  for  my  efforts  on  her 
behalf.  So,  you  see,  we  are  making 
pretty  good  headway  over  here. 

It's  a  great  country,  food  ex- 
cellent, hospitality  outstanding, 
and  generous  people  who  are  will- 
ing to  accept  knowledge  from  per- 
sons who  arrive  here  with  ex- 
perience and  willing  to  teach  them 
the     up-to-date     methods     of    our 

K  'ontinued  on  page  142) 

October  1957 



Sir  Alexander  Korda 

I  am  writing  a  biography  of  the 
late  Sir  Alexanda  Korda.  Though 
his  life  and  work  are  fully  docu- 
mented by  printed  material,  I 
would  be  extremely  grateful  to 
receive  any  record  of  personal  ex- 
periences from  people  in  the  film 
industry  who  have  worked  with 
him  or  had  personal  contact  with 

All  material  will  be  acknow- 
ledged and  due  credit  will  be  given, 
if  so  desired,  to  those  supplying  it. 

Yours  sincerely, 
Paul  Tabori, 

14  Stafford  Terrace, 

London,  W.8 



We  very  much  regret  to  announce 
the  death  of  Charles  Sell,  Adver- 
tisement Manager  of  Film  and  TV 

Charles  Sell,  senior  partner  of 
Charles  Sell  and  Co.,  had  for  many 
years  been  associated  with  the 
trade  union  movement  as  an  ad- 
vertising expert.  After  getting  a 
thorough  grounding  in  advertising 
he  joined  the  staff  of  the  Police 
Review  Publishing  Co.  Ltd.  before 
the  first  World  War.  He  started 
his  own  advertising  agency  in 
1919.  In  1930  he  became  Adver- 
tising Manager  and  then  Director 
of  the  Police  Review. 


We  also  announce  with  regret 
the  death,  just  as  we  were  going 
to  press,  of  Louis  Levy  who, 
although  primarily  a  musician,  was 
for  many  years  a  very  popular 
member  of  A.C.T.T.  as  associate 
producer.  We  hope  to  publish  a 
fuller  obituary  notice  next  month. 

We  Thought  Too 


In  our  report  of  the  agreement 
on  Foreign  Technicians  last  month 
we  referred  to  "  extra  permits 
where  required  in  respect  of  each 
film  exceeding  £3,000,000  budget 
cost."  Of  course,  we  like  to  think 
big,  all  film  technicians  do,  but  in 
this  case  we  thought  a  little  too 
big.  The  figure  should,  of  course, 
have  been  £300,000. 


"  As  any  producer  would  readily 
agree,  the  finest  production  com- 
pany in  the  world  would  only  be 
wasting  its  talents  if  it  had  not 
the  benefit  of  skilful  and  intelli- 
gent co-operation  from  the  pro- 
cessing  laboratories." 

These  thirty-four  words  sum  up 
as  concisely  as  possible  the  part 
played  by  the  laboratories  in  the 
film  industry.  They  are  taken  from 
"The  Rank  Laboratories  (Denham) 
Ltd  ",  a  sumptuous  publication  de- 
signed to  give  their  customers  an 
insight  into  the  work  of  the 
Denham  and  Olympic  laboratories. 

Some  idea  of  the  scope  of  these 
laboratories    can    be    gained    from 

A  Technician" s 

A.  E.  Jeakins,  who  write's 
'A  Technician's  Notebook', 
is  at  present  away  on  loca- 
tion. We  shall  resume  this 
feature  on  his  return  later 
in  the  autumn 

the  fact  that  they  can  handle  for 
processing  over  5,500,000  feet  of 
film  weekly  or,  as  the  Rank 
brochure  points  out,  the  equivalent 
of  over  650  full-length  feature 
prints.  On  top  of  that  they  pro- 
cess each  week  more  than  half  a 
million  feet  of  film  for  pictures  in 
production  and  also  many  hun- 
dreds of  prints  of  short  films  and 
two  twice-weekly  newsreels. 

First-class  Staff 

"  Services  on  such  a  scale  ",  the 
brochure  says,  "  would  clearly  be 
impossible  without  first-class 
laboratory  staff — and  in  this  we 
can  claim  to  be  second  to  no  other 
similar  organisation  in  the  world. 
Working  for  us  we  have  over  eight 
hundred  experienced  and  highly- 
skilled  people.  Well  up  in  the 
forefront  of  all  the  latest  technical 
developments,  ever-ready  to  tackle 
any  unusual  and  unexpected  prob- 
lems that  may  arise,  they  are  none 
the  less  ready  to  apply  their  skill 
and  '  know-how  '  to  their  ordinary 
day-to-day  work." 

It  is  good  to  see  this  tribute  to 
the  work  and  skill  of  A.C.T.T. 
members  in  both  laboratories. 

After  outlining  the  various 
types  of  film  processing  jobs  done 
at  the  laboratories  the  brochure, 
with  illustrations  and  diagrams, 
tells  the  story  of  "  How  colour 
gets  on  to  film  ",  starting  from 
the  moment  when  the  colour  nega- 
tive film  is  exposed  in  the  camera, 
a  story  which  will  perhaps  come 
as  something  of  an  exciting  shock 
to  technicians  working  in  some 
other  sections  of  the  industry. 

Book  Review 

Lo  Duea  (distributed  in  Britain  by 
The  Rodney  Book  Service,  9-11 
Monmouth  Street,  London,  W.C.2). 

The  commercial  side  of  the 
entertainment  business  is  so  taken 
up  with  the  quest  for  filthy  lucre 
— and  sometimes  the  filthier  the 
more  lucrative — that  it  is  espe- 
cially refreshing  to  find  a  film 
trade  paper  attack  "  the  ever-so- 
saucy-sexy-Frenchy  exploiteers 

who  trade  on  the  British  public's 
ignorance  of  their  neighbours 
across  the  Channel." 

So  wrote  Bernard  Charlesworth, 
in  an  important  recent  article  in 
the  Daily  Film  Renter,  on  the 
irresponsible  get-rich-quick  pro- 
ducers of  "  strip-tease  exploitation 
specials  ",  which  he  believes  have 
done  so  much  harm  to  the  French 
industry.  But  the  author  of 
L'Erotisme  au  Cinema  adopts 
an  intellectual  approach  to  smut — 
which  to  me  smells  of  hypocrisy — 
and  perhaps  this  is  emphasised  for 
British  readers  by  having  the  text 
in  French. 

Not  many  pictures  in  M.  Lo 
Duca's  book  are  from  English 
films,  but  pride  of  place  is  given 
on  the  frontispiece  to  one  from 
that  boring  experimental  film, 
The  Pleasure  Garden,  which  I 
seem  to  recall  one  critic  as  saying 
consisted  of  the  dancing  of  fairies 
of  both  sexes.    Ugh! 

This  French  book  could  well  stay 
on  the  other  side  of  the  Channel. 

Christopher  Brunei. 



October  1957 



"  W^ITH       the       introduction       of 
"    speech   into   motion  pictures 
we  lost  the  key  to  people's  under- 
standing of  each  other." 

That  thought-provoking  state- 
ment is  the  considered  view  of 
Lilian  Gish,  veteran  stage,  screen 
and  television  actress,  who  has 
just  completed  work  at  Shepper- 
ton  on  Anthony  Asquith's  Orders 
to  Kill. 

This  does  not  mean  that  she  is 
not  happy  in  a  speaking  role.  Far 
from  it.  "  I  have  never  had  ten 
happier  days  anywhere  in  the 
world,"  she  told  me,  "  than  work- 
ing with  Anthony  Asquith  on  this 
picture.       The     whole     time    there 

says  a  thing  like  that.  She  is 
quiet,  relaxed  and  speaks  thought- 
fully and  very  modestly  about  a 
medium    to    which    she    is    utterly 



in  an  interview  with 

Martin  Chisholm 

devoted.    There  is  not  the  slightest 
doubt     about     that.        Take     this 


was  a  sense  of  working  with  a 
group  of  artists  and  technicians 
who,  each  and  all,  were  dedicated 
to  just  one  thing,  getting  it  right. 

"  There  was  one  sequence  in 
which  I  was  very  troubled  by 
doubts.  I  felt  that  perhaps  I  had 
not  been  able  to  convey  what  was 
in  the  director's  mind,  and,  for  the 
first  time  in  my  life  I  felt  that 
I  could  not  face  seeing  my 

There  is  nothing  intense  in 
Lilian     Gish's     manner    when    she 

question   of   speech   on   the   screen, 
for  instance. 

"  What  we  see,"  she  said,  "  is  so 
much  more  important  than  what 
we  hear.  It  makes  so  much 
greater  impact  on  us.  We  who 
work  in  motion  pictures  should 
never  for  one  moment  forget  that 
the  quickest  way  to  the  brain  is 
through   the  eye." 

Does  this  mean  that  even  today, 
with  all  the  available  richness  of 
new  sound  techniques,  there  is 
scope  for  a  revival  of  silent  films  ? 

I  put  that  question  to  Miss  Gish. 
"  I  think  ",  she  replied,  "  that 
what  we  should  aim  at  is  not, 
perhaps,  silent  films,  but  films  in 
which  instead  of  dialogue  we 
marry  music  to  vision.  And  when 
I   say   '  music  '   I   certainly  do   not 



[Still  by  John  Jay] 

exclude  the  music  of  words.  The 
words  of  Shakespeare,  for  in- 
stance, are  music  in  themselves, 
and  has  a  finer  film  been  made 
than  Henry  the  Fifth? 

"  You  may  smile  at  what  I  am 
going  to  say,  but  I'd  like  to  tell 
you  this.  In  the  old  silent  days 
we  felt  that  we  were  working  in 
a  medium  that  the  Bible  had  pre- 
dicted, a  medium  which  had  the 
possibility  of  growing  into  a  uni- 
versal language  which  could  make 
all  men  brothers.  Yes,  we  really 
felt  that,  and  we  felt  that  this 
medium  was  so  much  greater,  so 
much  more  important,  than  any 
of  us.  We  worked  with  that  idea 
constantly  in  our  minds.  The 
medium  had  power  and  we  felt 
our  responsibility  in  its  use 

Lilian  Gish  thought  for  a 
moment,  and  then  she  added:  "I 
think  that  too  many  men  have  lost 
that  sense  of  responsibility  to  the 
medium.  We  had  better  get  back 
to  it  if  we  don't  like  the  state  of 
the  world  as  it  is  today." 

October  1957 



The  very  lack  of  words  was  the 
most  important  factor  in  building 
up  audience  participation.  The 
audience  had  to  draw  on  its 
imagination  to  supply  the  speech 
and  it  was  much  more  moved  in 
consequence.  "  People  remember 
me  today  from  the  silent  films ", 
she  said,  "  but  they  don't  remem- 
ber because  it  is  me.  They  re- 
member because  they  had  to 
supply  in  their  own  minds,  and 
with  their  own  feelings,  the  works 
of  the  human  beings  I  portrayed." 


Turning  her  mind  back  to  the 
'twenties,  Miss  Gish  recalled  that 
D.  W.  Griffith,  after  a  number  of 
great  silent  films,  made  his  first 
talkie  in  1921,  a  picture  called 
Dream  Street.  Then  he  discarded 
talkies.  "  Talking  films  are 
suicide  ",  he  said.  "  With  talkies 
we  can  only  play  to  the  English- 
speaking  world." 

I  think  that  some  such  thought 
is  in  Lilian  Gish's  mind  now  when 
she  speaks  of  what  film,  properly 
used,  can  do.  "As  things  are  we 
have  lost  a  world  audience,"  she 
said.  "  Translations  of  speech 
dubbed  as  captions  over  vision  are 
not  good  theatre,  not  good  film 
and  not  good  art.  .  .  .  But  pictures 

Above:  "  The  Red 
Balloon ".  Below: 
D.W.Griffiths'  great 
spectacular  picture 
"  Intolerance  ". 

like  La  Strada,  M.  Hulot's  Holiday 
and,  I  am  told,  though  I  have  not 
seen  it  yet,  The  Red  Balloon,  in 
which  words  are  subordinate  to 
married  sound  and  vision,  can  go 
out  and  speak  to  the  world.  Japan 
has  lovely  things  to  send  us,  too. 
Why  should  not  every  country 
send  out  its  own  particular 
beauty  to  the  rest  of  the  world, 
so  that  we  can  participate  in  its 
poetry    of    sound    and    movement." 

More  Difficult  Task 

When  Miss  Gish  speaks  of 
'  songs '  she  is  not  speaking  of 
music  in  the  dictionary  sense  but 
what  she  calls  '  the  music  of 
understanding '.  She  is  the  very 
first  to  admit  that  creating  these 
'  songs '  is  a  more  difficult  task 
than  the  making  of  dialogue  films 
because,  when  the  audience  has  to 
supply  its  own  thoughts  and 
words  and  feelings  the  film  maker 

(Continued  on  page  138) 



October  1957 

Lilian  Gish 


has  to  give  it  a  great  deal  more 
to  work  on. 

Another  difficulty  is  the  short- 
age of  writers  capable  of  working 
in  this  way,  but  here,  she  sees 
great  hope  in  television.  Tele- 
vision, in  her  view,  in  the  United 
States,  has  developed  far  more 
writing  talent  than  films  have 
done.  Twelve  Angry  Men,  No 
Time  for  Sergeants,  Marty  and 
The  Young  Stranger  have  all  come 
from  TV  writers  and  directors,  she 
pointed    out. 

"  In  what  other  medium  than 
television  can  you  write  some- 
thing, see  it  next  month,  learn 
from  it  and  then  sit  down  to  write 
again?  There  is  no  other  medium 
in  which  the  young  playwright  can 
learn   so  much  so  fast." 

Epic  Without  Script 

The  problem  of  writers  turned 
Miss  Gish's  mind  back  to  the  early 
pictures  of  D.  W.  Griffith  and  she 
reminded  me  of  something  that 
will  perhaps  come  as  a  shock  to 
many  younger  film  technicians. 
When  he  made  the  greatest  spec- 
tacular film  of  all  time,  Intolerance, 
a  twelve-reel  picture  taking  in,  in 
one  great  sweep,  the  fall  of 
Babylon,  the  Crucifixion,  the 
massacre  of  St.  Bartholomew,  and 
a  modern  story  of  capital  and 
labour,  Griffith  had  no  script  at 

He  did  his  own  research,  con- 
ceived his  story  and  the  linking 
sequences,  shot  mile  on  mile  of 
film.  The  only  writing  that  was 
done  was  by  the  cutter  who 
watched  the  last  rehearsal  and 
took  down  the  sequence  of  events. 
Until  then  there  was  nothing  on 
paper.  He  held  the  whole  thing 
in  his  head.  "  That  ",  said  Lilian 
Gish,    "  was    the    measure    of    the 

We  Need  Writers 

That  does  not  mean  that  the 
cinema  can  do  without  writers 
today.     Very  far  from  it. 

"  The  cinema  needs  writers," 
Miss  Gish  said.  "  We  have  in- 
vented wonderful  machines  and  we 
;uc  not  able  to  live  up  to  them. 
We  need  writers  who  are  prepared 
to  stand  up  and  say  what  they 
believe  in  and,  it  necessary,  to 
take  the  count  for  their  beliefs. 
The  world  respects  a  man  who 
believes     something    deeply.       We 

Talking  Points 

IET  us  think  big.  Not  for  its 
-J  own  sake,  but  because  our  place 
in  the  entertainment  industry  de- 
mands it.  These  grandiose  thoughts 
are  forced  on  me  by  some  industry 
developments,  particularly  in  the 
Rank  Organisation. 

This  large  monopoly  has  never 
believed  in  putting  all  its  eggs  in 
one  basket.  If  it  can  make  money 
from  television,  from  radio  sets  or 
snap-shot  cameras,  it  will.  But, 
basically,  it  still  must  sell  tickets 
at  the  cinema  box-office,  which  is 
quite  a  problem  these  days.  With 
other  entertainments  vieing  for  the 
smaller  amount  of  spare  cash  one 
has  these  days,  new  methods  are 
being  tried  to  attract  regular  cus- 

The  method,  which  is  also  being 
tried  in  the  U.S.A.,  is  to  build  up 
a  sort  of  community  centre  around 
the  cinema — a  place  where,  as  a 
change  from  watching  TV  at  home, 
you  can  get  entertainment  to  suit 
a  variety  of  tastes  and  moods. 

You  want  some  of  the  world's 
finest  ballet?  Well,  as  an  experi- 
ment Paul  Czinner's  film  of  the 
Bolshoi  Ballet,  featuring  the  won- 
derful Ulanova,  is  being  exhibited 
in  selected  Rank  theatres. 

Want  to  Dance? 

You  want  to  learn  to  dance  well? 
For  a  small  fee  you  can  go  to  one 
of  the  Victor  Silvester  dance 
studios  attached  to  a  number  of 
Gaumonts  and  Odeons.  Strict  tempo 
music  will  be  played  from  record- 
ings (Musicians'  Union,  please 
note)  while  you  are  given  expert 
tuition  in  the  art  of  ballroom 
dancing.  A  significant  point  in  the 
colour  advertising  trailer,  now  be- 
ing shown,  is  that  the  appeal  is  to 
both  young  and  old.  This  will  mean 
that  a  growing  number  of  people 
will  get  the  habit  of  going  in  the 
direction  of  a  Rank  cinema,  and 
this  will  help  build  up  a  film  audi- 
ence of  all  ages  and  of  all  intellec- 
tual levels. 

need  men  of  conviction.  We  have 
been  making  '  The  Cowboy  and  the 
Ladies  '  since  1906.  It  is  time  that 
somebody  got  up  and  said  some- 
thing new,  or  some  old  truth  in  a 
new  way.  We  need  it  said  beauti- 
fully and  said  with  courage." 

To  provide  the  pictures  for  these 
cinemas  of  the  (not  so  distant) 
future,  our  producers  will  have  to 
think  big  too,  as  there  is  a  great 
shortage  of  good,  attractive  big 
productions  to  hold  the  audiences. 
But,  in  order  to  get  them  into  pro- 
duction, big  money  has  to  be 
raised.  This  has  been  one  of  the 
major  problems  facing  our  Holly- 
wood competitors. 

The  American  producers  have 
been  glad  to  sell  their  old  pictures 
to  TV  in  order  to  finance  their  new, 
giant-sized  productions,  and  film- 
makers over  here  are  looking 
around  for  similar  sources  of  cash. 
Anyone  got  a  few  thousand  to 

"  Depth  Men  " 

I  am  indebted  to  Leslie  Adrian, 
writing  in  The  Spectator,  for  in- 
troducing me  to  Motivational  Re- 
search, for  it  seems  that  M.R.  is 
likely  to  be  most  important  for 
those  making  TV  commercials. 

The  folk  in  M.R.  are  called 
Depth  Men  (a  new  grade  for  the 
TV  Agreement,  perhaps?),  because 
they  use  psychological  probings  to 
find  out  the  reasons  why  one  buys 
certain  goods  and  not  others.  You 
have  probably  guessed  from  this 
jargon  that  the  whole  thing 
originates  in  the  United  States. 

This  is  the  way  the  scheme  is 
said  to  work:  associate  some  novel 
feature  with  what  you  are  selling, 
publicise  the  novelty,  and  you're 

For  instance,  the  size  of  the  car 
that  people  will  buy  appears  to 
be  the  all-important  feature.  For- 
get whether  they  will  ever  find 
enough  parking  space,  think  big 
and  make  the  cars  long  and  low, 
and  with  a  little  bit  of  skilful  pub- 
licity they  are  sold.  Not  only  the 
size,  but  the  smell  and  noise  the 
car  makes  are  said  by  the  Depth 
Men  to  be  important  as  prestige 

The  sound  made  in  slamming  the 
doors  is  especially  valuable  to 
sales.  "  We've  got  the  finest  door 
slam  this  year  we've  ever  had  ", 
Chevrolet  boast  about  their  1957 
models,  "  a  big  car  sound  .  .  ." 
That  wonderful  sound  effect  the 
BBC  has  of  a  breaking  glass  shop 
window  tempts  me  to  suggest  that 
it  would  be  most  useful  in  TV  com- 
mercials. "  Yes,"  says  the  com- 
mentator    (commentators     always 

October  1957 



seem  to  start  sentences  with 
"Yes"),  "when  you  smash  up 
our  new  1957  model  you,  too,  will 
make  the  big  car  crash." 

Leslie  Adrian  is  careful  to  add 
that  we  stolid  British  may  not  be 
affected  in  quite  the  same  way  as 
the  Americans.  Just  the  same,  he 
adds  that  we  may  not  be  able  to 
avoid  this  impact  of  the  motiva- 
tional advertising  man,  as  leading 
U.S.  firms  are  now  spending  an 
estimated  twelve  million  dollars  a 
year  on  M.R.  Among  them,  he 
says,  are  companies  like  Goodyear, 
General  Motors  and  Lever 
Brothers,  who  have  associates 
here.  "  It  obviously  gets  results," 
he  ends,  "  and  it  is  certainly  going 
to  arrive   over  here   before   long." 

There  is  quite  a  lot  that  the 
M.R.  characters  can  achieve,  but 
they  should  not  kid  themselves 
that  the  human  mind  is  just  putty 
in  their  talented  hands.  Most 
people  have  a  healthy  streak  of 
independence  in  their  mental 
make-up — and  that  helps  them  to 
reject  a  lot  of  spurious  propa- 
ganda. Besides,  there  are  other 
good  qualities  in  life  apart  from 



On  August  21st  there  was  a 
large-scale  meeting  of  the  ABC 
Drama  Department  which,  under 
Dennis  Vance,  is  now  one  of  the 
largest  and  most  active  depart- 
ments in  commercial  television.  In 
addition  to  a  weekly  output  which 
consists  of  an  hour's  mystery  play, 
a  ninety  minute  Armchair  Theatre 
and  a  half-hour  serial,  ABC  are 
also  setting  up  their  own  film  unit 
to  produce  a  series  of  half-hour 
films  for  transmission  here  and 
also  for  sale  to  U.S.  markets. 

Dennis  Vance  complimented  the 
unit  on  the  year's  work  and  men- 
tioned that  the  viewing  figures 
throughout  had  been  agreeably 
high,  very  frequently  topping  large 
scale  light  entertainment  and 
variety  programmes.  He  also  ex- 
pressed the  pleasure  of  the  man- 
agement at  the  signing  of  the 
agreement  with  the  A.C.T.T.  and 
looked  forward  to  a  bright  future 
for  all  concerned. 

A  new  departure  is  the  creation 

of  an  experimental  evening  when 
new  ideas  will  be  tried  out  on 
closed  circuit  from  the  Manchester 

Personnel  at  the  moment  work- 
ing for  ABC  Drama  include — 
Directors :  George  More  O'Farrel 
(whose  experience  in  Television 
stems  from  early  Alexandra  Palace 
days  in  1936),  Stuart  Latham,  John 
Burton,  John  Knight,  Wilfred 
Eades,  Philip  Dale,  Guy  Verney 
and  Vivian  Milroy;  Studio  Man- 
agers :  Richard  Hayward,  Bill 
Daw,  Pat  Kennedy,  Anthony  Fin- 
negan,  Chris  La  Fontaine  and  Don 
Gollan;  P.A.s:  Esther  Frost,  Janice 
Willet  (shortly  moving  to  adver- 
tising magazines  as  a  director), 
Bernice  Dorskind,  Verity  Lambert, 
Mavis  Lock  and  Judith  Dent.  Cast- 
ing Director  is  Dodo  Watts  (for- 
merly with  ATV  and  20th  Century 
Fox),  and  the  Script  Department  is 
under  Mae  Murray. 



1957  ARRIFLEX  Model  2A  with 
Cooke  Series  2  lenses.  Available 
as  mute  camera  or  with  full  BLIMP 

NEWMAN-SINCLAIR  mirror  shut- 
ter and  model  G  cameras.  Cooke 
electric  motor  drive — as  required. 

18  mm.  COOKE  extra  wide  angle 
lens  with  full  range  of  Wratten 
filters.  For  Arriflex,  Camiflex  and 
Newman-Sinclair  cameras. 



FINchley  I59S 


Newman  Sinclair  Model  A.  35mm. 
Cine  Camera  with  4  magazines  and 
4  lenses,  gate  focuser  and  camera 
case.  In  good  condition  and  full 
working  order.  £200  for  quick  sale. 
Wanted:  Acmiola  or  Moviola  35mm. 
Donalds  of  Guiseley  Motion  Pictures. 

FOK  III!!/, 

Fully  Equipped  CUTTING  ROOMS 






MODEL    "G" 

All    Enquiries:    GERrard    2360 

1  III 


October  1957 

The  General  Council  in  Session 

PEARL  &  DEAN:  Bessie  Bond 
reported  that  members  at  Pearl  & 
Dean,  Acton,  were  being  threat- 
ened with  dismissal  if  they  refused 
to  work  overtime,  and  it  was  also 
reported  that  they  were  not  get- 
ting the  Cost  of  Living  Bonus 
under  the  A.S.F.P.  Agreement. 
The  Organiser  told  them  that 
overtime  was  voluntary  and  that 
this  should  be  made  clear  to  the 
management,  and  the  members 
unanimously  agreed  that  the  Shop 
Steward  and  Deputy  should  take 
these  two  points  up  with  the  com- 

At  the  Dover  Street  branch  of 
the  company  an  excellent  meeting 
had  been  held  to  set  up  proper 
A.C.T.T.  organisation,  when  a 
Shop  Steward  and  Committee  were 
elected.  A  dispute  had  arisen  over 
the  dismissal  of  a  member  of  the 
Cartoon  Unit,  and  the  members 
agreed  to  ban  all  overtime  until 
she  was  reinstated  or  pending 
negotiation;  the  Organiser  called 
a  general  meeting  of  members  in 
the  Pearl  &  Dean  group  of  com- 
panies, and  after  a  very  full  dis- 
cussion, the  members  agreed  to 
support  the  overtime  ban.  At  a 
meeting  with  the  management  the 
Organiser  pointed  out  that  the 
Union's  main  concern  was  with  the 
future  policy  of  the  company  in 
regard  to  dismissals,  but  if  they 
would  give  an  assurance  that 
they  would  in  future  consult  with 
the  Union  before  dismissals  took 
place  we  should  accept  their  offer 
of  four  weeks'  wages  to  the  mem- 
ber. The  company  said  they  would 
be  prepared  to  do  so,  provided  the 
A.S.F.P.  advised  them  to.  The 
Executive  instructed  the  Organiser 
to  continue  to  press  for  the  assur- 
ance from  the  company,  and  gave 
their  full  support  to  the  members 
in  the  action  they  had  taken. 

Subsequently  it  was  reported 
that  the  company  had  given  the 
necessary    assurances. 

Secretary  reported  that  Max 
Anderson,  Derek  Twist,  and  him- 
self had  met  representatives  of  the 
Government's  Films  Committee  to 
discuss  the  Government's  report 
on   the   use   of   films   in   the   Home 

and  Overseas  Information  Services 
and  particularly  the  report  of  the 
Chancellor  of  the  Duchy  of  Lan- 
caster. They  put  forward  the 
union's  point  of  view  on  the  White 
Paper,  which  they  criticised  along 
the  lines  of  the  Editorial  in  the 
August  Film  and  TV  Technician. 
They  gained  the  impression  that 
the  representatives  of  the  Com- 
mittee shared  their  view  that  the 
White  Paper  was  inadequate  in 
many  respects  and  they  would  wel- 
come more  being  done,  but  the 
points  on  which  they  were  opposed 
to  Union  policy  were  on  such 
matters  as  the  revival  of  the 
Ministry  of  Information  and  the 
Crown  and  Colonial  Film  Units. 
However,  they  did  share  the 
Union's  view  that  more  should  be 
done  and  that  particularly,  there 
must  be  some  super-Ministerial 
co-ordinating  body  which  could  co- 
ordinate and  initiate  production 
and  they  gave  an  assurance  that 
they  would  do  their  best  to  make 
this  clear  either  informally  to  the 
Minister  or  when  the  matter  is 
discussed  in  the  House  of  Com- 


A  report  was  received  from  the 
F.  &  G.P.  regarding  a  free  issue 
of  the  journal  to  all  members. 
After  going  carefully  into  the  esti- 
mated cost  of  such  a  free  issue 
compared  with  the  present  cost, 
they  recommended  that  the  matter 
should  be  left  open  for  the  time 
being,  as  the  additional  expendi- 
ture would  be  considerable  and 
they  felt  the  extra  money  could  be 
used  to  better  effect  on  other 
things.  After  a  very  full  discussion 
the  following  resolutions  were 
carried  by  the  Executive: 

(a)  Thai  the  F.  &  G.P.'s  recommen- 
dation   be    endorsed. 

(b)  That  the  F.  &  G.P.  look  into  the 
possibility  of  producing  some 
kind  of  half-yearly  bulletin  for 
free    issue    to    the    membership. 

(c)  That  shops  should  be  advised  to 
appoint  a  Journal  Steward  Cor- 
respondent responsible  for  sales 
of  the  journal  and  for  obtaining 
local   material. 

This   report   was   agreed   by  the 
<  teneral  Council. 

WOOD:  Fred  Tonge  reported  on 
proposals    for    two    dubbing    crews 

to  work  in  shifts,  one  from  6  a.m. 
to  3  p.m.,  and  another  from  3  p.m. 
to  midnight;  payment  would  be 
the  guaranteed  day  plus  overtime 
at  appropriate  rates  for  those  nor- 
mally in  receipt  of  overtime  for 
the  hours  outside  the  guaranteed 
day.  Transport  and  catering 
would  be  arranged  as  and  when 
required.  The  Pinewood  Shop 
Steward  reported  to  the  Council 
that  the  Editorial  Department 
refused  to  work  these  shifts,  and 
the  view  was  forcefully  expressed 
at  the  Council  that  the  proposed 
arrangement  was  tantamount  to 
compelling  members  to  work  over- 
time. It  was  agreed  that  the 
Organiser  should  visit  Pinewood 
and  discuss  the  matter  further  on 
the  basis  of  these  views. 

REPORT:  The  Management  of  the 
Rank  Laboratories  were  asked  for 
a  meeting  to  fix  local  rates  for 
the  grades  of  VistaVision  and 
Optical  Colour  Printers  but  were 
unable  to  accept  the  proposal  on 
the  grounds  that  other  Labora- 
tories employ  these  grades.  It  has 
now  been  decided  to  discuss  the 
matter  at  F.L.A.  level  and  a  meet- 
ing will  be  arranged  on  Mr. 
Strachan's  return  from  holiday. 

TELEVISION:  Paddy  Leech  had 
attended  meetings  of  the  TV  Nego- 
tiating Committee  and  over  the 
week-end  of  August  10th-12th  had 
attended  meetings  with  the 
General  Secretary  and  Brother 
Tony  Shine  in  London,  Manchester 
(two  meetings)  and  Birmingham. 
Two  other  meetings,  also  to  en- 
dorse the  National  Agreement, 
were  held  in  London,  for  A.T.V. 
and  I.T.N,  members.  Approxi- 
mately 300  Television  members 
were  present  at  these  seven  meet- 
ings, the  voting  in  favour  of  en- 
dorsing the  agreement  being  280 
for,  20  against.  The  Organiser  has 
attended  "  assimilation  "  meetings 
to  correlate  job  titles  and  grades 
in  the  various  companies  into  the 
Agreement  in  A.R.T.V.,  A.B.C. 
Television  Manchester  (two  meet- 
ings)  and  in  I.T.N,  with  the  local 

(Continued  on  page  142) 

October  1957 



Joint  statement  by 

The  British  Employers'  Confederation 

and  the  Trades  Union  Congress 

JJN  increase  in  personal  savings  would 
be  greatly  to  the  advantage  of  Great 
Britain  at  this  time.  That  is  a  conclusion 
upon  which  employers  and  trade  union 
leaders  as  well  as  all  the  political  parties 
are  commonly  agreed. 

One  important  benefit  which,  we  believe, 
would  result  from  a  substantial  increase 
in  savings  would  be  to  slow  down  the  rate 
of  the  inflation  of  our  currency  which  has 
been  going  on  steadily  for  a  number  of 
years.  Another  would  be  to  help  us  to 
finance  the  very  heavy  programme  of  in- 
dustrial development  Great  Britain  must 
undertake  if  we  are  to  compete  success- 
fully with  other  highly  mechanised  indus- 

trial nations  in  the  markets  of  the  world. 
In  addition,  individual  savers  who  are  able, 
even  with  some  effort,  to  put  something  by 
regularly  will  find  it  greatly  to  their 
personal  advantage  to  do  so. 
For  these  reasons  we,  representing  respec- 
tively the  British  Employers'  Confedera- 
tion and  the  Trades  Union  Congress,  call 
upon  all  leaders  of  industry  among  em- 
ployers and  the  trade  unions  to  give  their 
best  help  to  the  National  Savings  Commit- 
tee in  their  campaign  during  the  coming 
winter  to  increase  by  not  less  than  five  per 
cent,  the  number  of  people  saving  through 
National  Savings  Groups  in  places  of 

(Sir  Thomas  Williamson) 

General  Council  Trades  Union  Congress 


Cv4u4^f  A*x 


(Sir  Colin  Anderson) 
British  Employers'  Confederation 


1  12 


October  1957 

General  Council 

( Continued) 

Stewards  and  officials.  Membership 
is  steadily  increasing,  and  our 
organisation  in  several  companies 
improving.  Local  committees  have 
given  support  to  ensure  that  the 
Agreement  is  properly  imple- 

The  Organiser  has  written  to  the 
Secretary  of  the  T.P.C.A.,  enclos- 
ing B.F.P.A.  rates  and  terms, 
seeking  the  implementation  of  film 
rates  for  our  members  in  TV  com- 
panies' film  departments.  A  letter 
has  also  been  sent  to  Scottish  Tele- 
vision, enclosing  the  National 
Agreement  and  informing  them 
that  A.C.T.T.  expects  the  Agree- 
ment to  be  observed,  and  stating 
that  Union  officials  are  willing  to 
enter  discussions  immediately.  Our 
members  there  have  also  been  sent 
copies  of  the  Agreement  and  asked 
to  recruit  membership  as  speedily 
as  possible. 

MENT EXCHANGE:  The  General 
Secretary  reported  that  a  reply 
had  been  received  from  the 
Ministry  of  Labour  stating  that, 
as  a  result  of  representations 
made  by  local  bodies,  the  Minister 
had   finally   decided   that   although 

the  continuation  of  the  full-time 
exchange  at  West  Drayton  was 
not  justified  in  view  of  its 
proximity  to  the  exchanges  at 
Uxbridge  and  Hayes,  the  office 
should  be  kept  open  part-time, 
these  arrangements  to  commence 
on    September   2nd. 


COMMITTEE:  As  the  Agreement 
to  cover  Television  Producer/ 
Directors  still  has  to  be  nego- 
tiated, the  following  were  ap- 
pointed to  be  the  Negotiating  Com- 

George  Elvin 

P.  S.  Leech 

Desmond  Davis 

Max  Anderson 

Bob  Dunbar 

Derek  Twist 

together  with  one  Producer/Direc- 
tor from  each  company  including 
the  B.B.C.  and  a  nominee  from  the 
TV  Branch  Committee. 

NICIANS were  reported  to  be 
working  in  Britain;  with  the  ex- 
ception of  two  Dutchmen,  all  were 
Americans.  They  were  all  working 
with  permits  from  the  authorities. 



Provides  Complete  Studio  Projection   Service 
at  Any  Time  to  Suit    Your  Requirements 






86  WARDOUR  ST.,  LONDON,  W.l 

Tel:  GERr.ird   5223  Editing  Rooms  GERrard  9.W) 

Organisers'  Page 

( Continued) 

business,  so  enabling  them  to 
establish  a  sound  foundation  for 
producing  feature  films  in  this 
country  which,  although  young, 
has  terrific  possibilities. 

The  first  impressions  on  arriv- 
ing here  were  the  huge  cars  they 
run  and  the  high  speeds.  In  the 
studio  car  park  the  scene  was 
amazing — looked  as  though  a  con- 
vention was  in  progress,  but  the 
cars  only  belonged  to  the  studio 
employees.  Mind  you,  petrol  is  only 
2s.  6d.  a  gallon  and  of  course  no 
purchase  tax.  These  cars  are 
certainly  a  comfortable  ride. 
Rennie-du-Pont,  the  1st  Assistant, 
has  already  bought  one.  I  expect 
most  of  the  other  English  boys 
will  follow  suit,  one  hardly  ever 
sees  an  English  car  out  here. 

Rennie  is  on  a  TV  Tugboat 
Annie  series  and  is  also  thoroughly 
enjoying  the  experience  out  here. 
When  in  the  studio  shooting  a  few 
tests,  many  of  our  A.C.T.T.  tech- 
nicians came  along  to  see  me.  I 
was  surprised,  for  I  never  realised 
we  had  such  a  strong  contingent 
out  here,  almost  like  being  back 
home   in   our   studios! 

Yours  sincerely, 

Freddy  Ford. 

Where   Else   Could  This 
Happen  ? 

On  one  of  the  very  few  really 
hot  evenings  we  have  had  this 
summer  a  meeting  of  one  of  the 
Sections  was  held  at  2  Soho 
Square.  The  Secretary  was  very 
sensibly  clad  in  open-neck  shirt 
and  flannels  and  one  or  two  of  the 
other  members  were  in  normal 
summer  dress,  including  a  lady 
member  in  summer  frock.  The 
meeting  was  presided  over,  how- 
ever, by  a  Chairman,  no  doubt  on 
the  way  to  another  function, 
resplendent  in  white  tie  and  tails, 
complete  with  gardenia.  I  won- 
dered if  it  could  happen  in  any 
other  union  than  A.C.T.T.  I  was 
reminded  of  Verdi's  wonderful  Aria 
in  Tosca,  "  Recondita  Armonia " 
(Strange  harmony  of  contrasts). 

Shop  Steward's  comment  on  a 
membership  form  recently  re- 
ceived: "  Even  after  making  allow- 
ances for  the  sponsor's  eulogies, 
this  applicant,  I  find,  is  still  a  good 


October  1957 

Guide  to  British  Film  Makers 


Year  of  Production :    1956. 

Studio:    Shepperton. 

Laboratory:    Humphries. 

Producing  Company  :  Beaconsfield  Films 

Producer:    Peter  Rogers. 

Associate  Producer:    Gerald  Thomas. 

Stars:  Ralph  Richardson,  Margaret 

Director:    Muriel  Box. 

Scenarists:    Sydney  and  Muriel  Box. 

Camera  Department :  Lighting  Camera- 
man, Otto  Heller;  Camera  Operator, 
Gus  Drisse;  1st  Camera  Assistant 
(Focus),  Brian  West ;  Other  Camera 
Assistants,  James  Hopewell,  Alan 

Sound  Department:  Recordist  (Mixer), 
George  Stephenson ;  Sound  Camera 
Operator,  Sandie  Fairlie:  Boom 
Operator,  Jack  Davies;  Other  Assis- 
tant. Alan  Blay  (Maintenance);  Dub- 
bing Crew,  Red  Law  and  Crew. 

Art  Department:  Art  Director:  George 
Provis;  Assistant  Art  Director,  Ron 
Benton;    Draughtsman,    Roy    Walker. 

Editing  Department:  Editor,  Jean 
Barker;  1st  Assistant,  Marcel  Dur- 
ham; Dubbing  Editor,  Chris  Green- 

Production  Department:  Production 
Manager  and/or  Unit  Production 
Manager,  Jack  Martin;  1st  Assistant 
Director,  Jack  Causey;  2nd  Assistant 
Director,  David  Bracknell ;  Con- 
tinuity, Phyllis  Crocker;  Production 
Secretary,  Nona  Binstead;  Publicity 
Director,   Ken  Green. 

Stills  Department:  Still  Cameiaman, 
Norman  Hargood. 


Year  of  Production :    1957. 

Studio:    Merton  Park. 

Laboratory:    Denham. 

Producing  Company:  Anglo-Guild  Pro- 

Producer:    Alec  C.   Snowden. 

Associate  Producer:    Jim  O'Connolly. 

Stars:  Mary  Murphy,  Rod  Cameron, 
Peter  Illing,   Meredith   Edwards. 

Directors:  Montgomery  Tully,  David 

Scenarist:    Charlies  Eric  Maine. 

Camera  Department:  Lighting  Camera- 
man, Bert  Mason ;  Camera  Operator, 
Bernard  Lewis;  1st  Camera  Assistant 
(Focus),  Peter  Jessop;  Other  Camera 
Assistants:    I.  McMillan. 

Sound  Department:  Recordist  (Mixer), 
Keith  Barber;  Sound  Camera  Opera- 
tor, Alan  Mills:  Boom  Operator,  Tom 
Otter;  Boom  Assistant,  Keith  Pam- 
plin;    Dubbing  Crew,   Ronald  Abbott. 

Art  Department:  Art  Director,  Wilfred 
Arnold;  Assistant  Art  Director,  Wil- 
liam Holmes. 

Editing  Department:  Editor.  Geoffrey 
Muller;  1st  Assistant,  Ina  Davidson; 
Dubbing  Editor,   Derek  Holding. 

Production  Department :  Production 
Manager,  William  Shore;  1st  Assis- 
tant Director,  Peter  Crowhurst;  2nd 
Assistant  Director,  Charles  Mans- 
bridge;  3rd  Assistant  Director,  Arthur 
W.  Nicholls;  Continuity,  Marjorie 

Stills  Department;  Still  Cameraman. 
Frank  Otley. 


Year  of  Production  :    1956. 

Studio:    Pinewood. 

Laboratory:  Rank  Laboratories  (Den- 

Producing  Company:  Rank  Organisa- 
tion  Ltd. 

Producers:  Michael  Powell,  Emeric 

Production  Controller:    Arthur  Alcott. 

Associate  Producer;    Sydney  Streeter. 

Stars:  Dirk  Bogarde,  Marius  Goring. 
David  Oxley,  Demitri  Andreas,  Cyril 

Directors:  Michael  Powell,  Emeric 

Scenarists:  Michael  Powell,  Emeric 

Camera  Department:  Lighting  Camera- 
man, Chris  Challis;  Camera  Operator, 
Austin  Dempster;  1st  Camera  Assis- 
tant (Focus),  Steve  Claydon ;  Other 
Cameia  Assistant,   Ronald  Anscombe. 

Sound  Departm  nt:  Recordist  (Mixer), 
Charles  Knott;  Sound  Camera  Opera- 
tor, Martin  McClean;  Boom  Operator, 
Basil  Rootes;  Boom  Assistant,  Ken 
Reynolds;  Dubbing  Crew,  Gordon  K. 
McCallum,  W.  Daniels,  C.  le  Mes- 
surier;   Music,   Ted  Drake. 

Art  Department:  Art  Director:  A. 
Vetchinsky;  Assistant  Art  Director 
(Set),  Maurice  Felling;  Draughtsmen, 
Lionel  Couch,  Harry  Pottle,  Bruce 
Giimes;  Dress  Designer,  Renate 

Editing  Department;  Editor,  Arthur 
Stevens;  Assembly  Cutter,  N.  Ack- 
land ;  1st  Assistants,  Jack  Gardner, 
A.  Godfrey;  Other  Assistant,  Noiman 
Wanstall :  Dubbing  Editor.  Archie 
Ludski ;  Dubbing  Assistant,  C.  Lan- 

Production  Department:  Production 
Manager,  Jack  Swinburne;  1st  Assis- 
tant Diiector,  Charles  Orme ;  2nd 
Assistant  Director,  Harold  Orton;  3rd 
Assistant  Director,  David  Tringham ; 
Continuity:  Gladys  Goldsmith;  Pro- 
duction Secretary,  Jean  Tisdall;  Unit 
Publicist,  Jean  Osborne. 

St'lls  Department:  Still  Cameiaman, 
Harry  Gillard. 

Special  Processes:  W.  Warrington,  F. 
Geoige,  H.  Marshall,  C.  Culley,  D. 


Year  of  Production :    1956. 

Studio:    Beaconsfield  Film  Studios. 

Laboratory:    Humphries. 

Producing  Company  :  Beaconsfield  Films 

Producer:     Peter  Rogers. 

Stars:  Pat  Kirkwood,  Laurence  Harvey. 

Director:    Gerald  Thomas. 

Scenarists:  Peter  Blackmore,  Hubert 

Camera  Department:  Lighting  Camera- 
man, Jack  Asher;  Camera  Operator, 
Leo  Rogers;  1st  Camera  Assistant 
(Focus),  Hugh  Salisbury;  Other 
Camera  Assistant,   Rod  Fisher. 

Sound  Department:  Recordist  (Mixer), 
Bill  Sawyer;  Sound  Camera  Operator, 
George  Rice;  Boom  Operator,  Don 
Roberts;  Other  Assistant  (Mainten- 
ance). Frank  Sloggett;  Dubbing  Crew, 
Anvil  Films  Ltd. 

Art  Department:  Art  Director:  Nor- 
man  Arnold:    Assistant   Art    Director, 

Thomas  Goswell ;  Draughtsman,  E.ic 

Editing  Department:  Editor,  Peter 
Boita;  1st  Assistant,  Michael  Round; 
Other  Assistant,  Fred  Burnley;  Dub- 
bing Editor:    Eric  Boyd-Perkins. 

Production  Department :  Production 
Manager  and /or  Unit  Production 
Manager,  "Freddie"  Pearson;  1st 
Assistant  Director.  Rene  Dupont;  2nd 
Assistant  Director,  Kim  Mills:  Con- 
tinuity, Rita  Davison;  Production 
Secretary:  Pauline  Chessell ;  Pub- 
licity Director,  Vic  Betts. 

Stills  Department:  Still  Cameraman, 
Fred   Williams. 


Year  of  Production  :    1957. 

Studio:    Southall. 

Laboratory:  Rank  Laboratory  (Den- 
ham) Ltd. 

Producing  Company:  G.  H.  W.  Produc- 
tions Ltd.,  for  Church  &  Chapel  Films 

Executive  Producer:    Clifford  Jeapes. 

Production  Controller:    Jas.  B.  Sloan. 

Stars:  Hugh  David.  Meredith  Edwards, 
Harry  Fowler. 

Director:    Norman  Walker. 

Scenarist:    Lawrence  Barrett. 

Camera  Department:  Lighting  Camera- 
man, Lionel  Banes,  F.R.P.S.  (2nd 
Unit.  Alan  Hewison);  Camera  Opera- 
tor, Leo  Rogers;  1st  Camera  Assistant 
(Focus),  Jim  Turrell :  Other  Cameia 
Assistant,  Ronnie  Rogers. 

Sound  Department:  Recordist  (Mixer). 
Dick  Smith  (2nd  Unit,  Derek  Taylor); 
Sound  Camera  Operator,  Brian 
Hunter;  Boom  Operator,  John  Brom- 
ag?;  Maintenance,  Fred  Goodes : 
Music,  Henry  Reed;  Dubbing  Crew, 
Maurice  Askew,  Bill  Germain,  Ed- 
ward L.  Nakhimoff.  Bernard  Childs. 

Art  Department:  Art  Director,  Herbert 
Smith;   Draughtsman,  Tom  Goswell. 

Editing  Department:  Editor,  Duncan 
Spence:  1st  Assistant.  Brian  Hickin ; 
Other  Assistant.   Terry  Hine. 

Production  Department :  Production 
Manager.  Harry  Woof;  1st  Assistant 
Director,  John  Peverall:  2nd  Assis- 
tant Director,  Roger  Pennington: 
Continuity,   Gladys  Reeve. 

Stills  Department:  Still  Cameraman, 
Frank  Bellingham. 


Year  of  Production  :    1957. 

Studio:    Walton. 

Laboratory:    Kay  Laboratories  Ltd. 

Producing  Company:  Butcher's  Film 
Productions  Ltd. 

Producer:    W.  G.  Chalmers. 

Stars:  Julia  Arnall.  Sheldon  Lawrence, 
Anton  Diffring. 

Director:    Maclean  Rogers. 

Scenarist:    Norman  Hudis. 

Camera  Department:  Lighting  Camera- 
man, Geoffrey  Faithfull:  Camera 
Operator,  John  Winbolt ;  1st  Camera 
Assistant  (Focus),  John  Shinerock; 
Other  Camera  Assistant.  Peter  Mac- 

Sound  Department:  Recordist  (Mixer), 
Cliff  Sandall;  Sound  Camera  Operator, 
Aubrey  Lewis;  Boom  Operator.  Jim 
Perry;  Maintenance.  C.   Earl. 

(Continued  overleaf) 

October  1957 




Art  Department:  Art  Director,  John 

Editing  Department:  Editor,  Harry 
Booth:  1st  Assistant.  Marianne 
Temple;  Dubbing  Editor,  Leslie 
i  'asker. 

Production  Department:  Production 
Manager  and/or  Unit  Production 
Manager,  Charles  Permane;  1st  Assis- 
tant Director,  George  Pollard;  2nd 
Assistant  Director,  Jan  Saunders; 
Continuity,  Doris  Martin;  Production 
Secretary,   Doris  Prince. 

Stills  Department:  Still  Cameraman. 
Cyril   Stanborough. 


Year  of  Production:    1957. 

Studio:    Walton. 

Laboratory:    Denham. 

Producing  Company:  Ravstro  Films 

Producer:     Raymond   Stross. 

Associate  Producer:    Victor  Lyndon. 

Stars:    John  Derek,  Milly  Vitale. 

Director:    Don  Chaffey. 

Scenarist :     Leigh  Vance. 

Camera  Department:  Lighting  Camera- 
man, Stephen  Dade:  Camera  Opera- 
tor, Gerry  Massy-Collier;  1st  Camera 
Assistant'  (Focus).  Mark  Hyams; 
Other  Camera  Assistant,  Peter  Mac- 

Sound  Department:  Recordist  (Mixer). 
Cliff  Sandall;  Sound  Camera  Operator, 
A.  Lewis;  Boom  Operator.  D.  Cavan- 
agh ;    Dubbing  Crew,    R.C.A. 

Art  Department:  Art  Director.  John 
Stoll;  Draughtsman,  W.  Benson. 

Editing  Department:  Editor,  Charles 
Hasse;  1st  Assistant,  Abel  Goodman; 
Other  Assistant,  Audrey  Bromberg; 
Dubbing  Editor,   Noreen  Ackland. 

Production  Department:  Production 
Manager,  Clifton  Brandon;  1st  Assis- 
tant Director,  Rene  Dupont ;  2nd 
Assistant  Director.  Kim  Mills;  3rd 
Assistant  Director,  John  Archer; 
Continuity,  Jane  Buck;  Production 
Secretary^   Cynthia  Maugham. 

Publicity  Department:  Publicity  Direc- 
tor. Leslie  Frewin;  Unit  Publicist, 
High  Sampson. 

Stills  Department:  Still  Cameraman. 
Ricky  Smith. 



I:  vi  i  utive  Producer:    Edgar  Anstey. 
Production   Manager:     Len   Oirdlestone. 
Asst.  Production  Manager:    Ruth  Pratl 


Technicolor  from  Kodachrome 
21  minutes 
Producer:    Ian  Ferguson. 
Diret  tot      Tonj    Thompson. 
Cameramen:        Robert       Paynter,      Reg 

Edit 01      John  Legard. 
Assistant    Cameramen:     Derek    Witham, 

Cordon  Thornton. 
Assistant     Directors:      Michael     Healv, 

Edward  Scott. 
Assistant      Editors        Harry     Hastings. 

David  Plumb. 
Commi  ntary  written  by  Harry  Green. 
Commi  ntni  <i  \pnl;i  n  In/  Stephen  Murray. 
Music  composed  by  Elisabeth  Lutyens. 
/,-.  .  01  ding  :    Anvil  Films. 


16mm  Kodachrome       14  minutes 
Producer:    Ian  Ferguson. 
Director:    Tony  Thompson. 
Cameramen:     Ronald    Craigen,    Robert 

Paynter,  Bill  Williams  (SNR). 
Editors:    Margot  Fleischner,  Fat  Jones. 
Assistant     Cameramen:       Trevor     Roe, 

Lewis  McLeod,  Hugh  Raggett. 
Assistant  Director:    Frank  Hoi  ton. 
Assistan'  Editor.    Hazel  East. 
Commentary   u  ritten   by  Paul  Le  Saux. 
Cumin    ntarn  spoken    hi/  Stephen  Jack. 
Recording :    date  Studios,  Elstree. 


16mm  Kodachrome       15  minutes 

Producer:     Edgar  Anstey. 

Director:    Tony  Thompson. 

Cameramen:  Ronald  Craigen.  James 

Editor:    John  Legard. 

Assistant  Cameramen:  Trevor  Roe, 
Jack  West. 

Assistant  Director:  Donald  Wash- 

Assistant   Editor:    David  Plumb. 

Commenary    written   by  Paul   Le   Saux. 

Commentary  spok-n   by  Frank  Duncan. 

Recording:    Pathe. 


17  minutes 

Producer:    Edgar  Anstey. 

Directors:  Kenneth  Fairbairn.  Peter 
M.   Sims. 

Cameramen:  Ronald  Craigen,  Robert 

Editor:    John   Trumper. 

Assistant  Directors:  John  H.  Arm- 
strong,  Paul  Khan,   Ken  Cooper. 

Assistant  Cameramen:  Cyril  Moorhead. 
Trevor  Roe. 

Assistant  Editor:    Wilfred  Fisher. 

Commentary  written  by  John  Trumper. 

Commentary  spoken  by  Michael  Good- 

Music  composed  by  Julian  Leigh. 

!.'■  i  hi  ding      Am  il    Films. 


Technicolor  print  from  Eastman- 
colour        26  minutes 
Producer:     Ian   Ferguson. 
Director:    John  Taylor. 
Cameramen:       James      Ritchie,      David 

Wat  kin. 
Editor:    John  Legard. 
Assistant    Directors:    Ken  Cooper,   Roy 

Meredith.   Edward   Scott. 
Assistant      Cameramen:       Jack      West, 

Lewis  McLeod. 
Assistant  Editor:    David  Plumb. 
Commentary    written    by   John   Moore. 
Commentary  spoken   by  Alec  Clones. 
Music    composed     by     Ralph     Vaughan 

Recording:    Ken  Cameron.  Anvil  Films. 


Technicolor  print  from  Eastman- 
colour        21  minutes 

Producer:    Stewart  McAllister. 

Director:    Joe  Mendoza. 

Cameramen:    Robert  Paynter. 

Editor:    Margot  Fleis.  liter 

Assistant   Cami  rninan  :    Cyril   Moorhead. 

Ass  stunt  Director:    Ken  Cooper. 

.1  ss  stant  Editor:    Pat  Jones. 

Commentary  written  by  Maurice  Lind- 
saj  . 

c,  mi  ii>, a  a  spoh  ii  In/  Stewart  Mc- 

MuS'c  i  "hi  :n i si  1 1  and  mi  ainit  d  by  Cedric 

Thorpe  i  >a^  ie 

/.'.  -  01  dxng      Anvil   Films. 


45  minutes 
Producer:    Edgar  Anstev. 
Director:     Kenneth  Fairbairn. 
Cameraman:    David  Watkin. 
Editor:    Alf  Chapman. 
Assistant  Cameraman:    Jack  West. 
Assistant   Editor:    Rosina  Pedrick. 
j  '«  .  hi  ding       Am  il    Films 


13  minutes 

Producer:    Ian  Ferguson. 

Director:    Norman  Prouting. 

Cameraman:    David  Watkin. 

Ed  tor:    John  Legard. 

Assistant  Director:    Roy  Meredith. 

Assistant  Cameraman:    Jaik  West. 

Assistant  Editor:    Joyce  Clarke. 

Commentary  written  by  Norman  Prout- 

Commentary  spoken   by  Colin  Wills. 

Music  composed  and  played  by  David 

Recording:    Anvil  Films. 


33  minutes 

Producer:     Stewart  McAllister. 
Director:    Tony  Thompson. 
Cameramen:      Ronald    Craigen,     Robert 

Paynter.  James  Ritchie,  John  Turner. 
Editor:    Bert  Eggleton. 
Assistant    Cameramen:     Lewis   McLeod. 

Jack  West,  J.  Hermges. 
Assistant  Director:    Ken  Cooper. 
Assis'ant   Editor:     Valentine   Rylands. 
Recording:    Anvil  Films. 


(R^-edit  of  above) 

17  minutes 

Producer:    Edgar  Anstey. 
Director:    Tony  Thompson. 
Editor:    John  Trumper. 
Assistant  Editors.  Rosina  Pedrick.  Wil- 
fred Fisher. 
Commentary  written  by  John  Trumper. 
B(  ■  hi  ding  :    Anvil  Films. 


13  minutes 

Producer:    Edgar  Anstey. 
Director:    Kenneth  Fairbairn. 

Cmni  i aim  n  :       Ronald      Ciaigen,      David 

Editor:    John   Legard. 
Assistant     Directors:       Edward     Scott, 

Dmial   '•     V  ;i    li'-oiirne. 

Assistant    Cameramen:     Lewis   McLeod, 

Jack  \V>  st. 
Assistant  Editor:    David  Plumb. 
Commentary  written  by  Paul  Le  Saux. 
Commentary    spoken    by   Duncan  Carse, 

Conrad   Phillips 
/.  ecoi  ling      Am  il  Films. 


/»    tin    credits   for   tins    tilin    published 

ui  tin  August  Supplement  tin  nami  of 
Ko\    Boulting   was  given  as  Supervising 

Fit, tnr  Wi  an  informed  that  thert 
n  ,is  m  fact  no  Supervising  Editor  for 
tins    picture.     G.    T.    Ambler    should 

Imvi  In  i  n  hstid  OS  2nd  Assistant,  not 
Asst  n, hlu  Cutter.  We  regret  these 

October  1957 


i  i:; 


imOHR  FUJf 


'You  see  . . . 

I  he  fg  multe  no  «».v/r##  charge 

for  using  prc-Hashed 

printing  stock a' 

mm; mkmi 

Apply  for  free  technical  brochure 

22-25  PORTMAN  CLOSE    •    BAKER  STREET    -    LONDON  W.I 

Telephone:    HUNter   0408-9 



October  1957 



Director  of  Photography 




"  Esther  Costello  "  looks 
like  being  a  winner, 
Mr.  Krasker. 

Yes — we're,  all  very 
pleased.    It's  the  sort 
of  Jilm  anybody  would  be  proud 
to  have  had  a  hand  in. 

What  about  the  actual 
photography?    Are  you  happy 
about  that? 

Oh,  more  than  happy. 
As  you  know,  we  shot  it  all 
on  Ilford  FP  3. 
/  chose  FPZ  specially 
bun  us,  of  its  wide  tone  scale, 
and  fine  grain 
which  is  particularly 
suitable  f at- 
wiil,   sen  ,  n  pro],  rtinn. 


Published  by  the  Proprietors,  The  Association  of  Cinematograph,  Television  and  allied  Technicians.  2  Soho 
Square,  London,  and  Printed  by  Watford  Printers  Limited,  Watford,  Herts. 



Association     of    Cinematograph,    Television    and    allied    Technicians 
Vol.  23  No.  154  PRICE  6d. 




Maydana's  Donkey   (U.S.S.R.) 
(See  pa  ye  152) 



November  1957 


We  refer  not  to  the  vogue  for  "  vital 

statistics  "  but  to  the  excellent  characteristics  of 

Gevaert  film  stocks.  Whichever  Gevaert 

film  you  use,  negative,  positive,  duplicating, 

recording,  reversal,  you  may  be  sure  that 

the  sensitometric  characteristics  are  ideally 

suited  for  the  purpose. 


GEVAERT    LIMITED     Motion   Picture   Department 

GREAT     WEST      ROAD      ■      BRENTFORD  MIDDLESEX  EALing     3488 

November  1957 


Ths  Museum  of  Mod—  Art 


OUR  experience  in  Scottish  Tele- 
vision shows  how  Trade  Unions 
can  never  take  anything  for 
granted.  Here  we  are  having  just 
signed  an  agreement  with  the  Pro- 
gramme Contractors  Association 
and  having  obtained  some  two 
years  back  a  Fair  Wages  Clause  in 
the  Television  Act.  In  theory, 
therefore,  all  is  set  without  fear, 
trouble  or  strife,  for  any  technician 
employed  in  commercial  television 
to  receive  the  rate  for  the  job  and 
work  under  Trade  Union  condi- 

But  what  happens  in  Glasgow? 
We  make  the  appropriate  initial  ap- 
proaches to  the  management  draw- 
ing attention  to  our  existence  and 
referring  to  the  Agreement  exist- 
ing to  cover  our  members.  We  re- 
ceive a  polite  letter  back  from  Roy 
Thomson,  the  proprietor  himself, 
implying  all  will  be  well  and  as 
soon  as  the  official  opening  is  off 
his  company's  hands  they  will  meet 
us  in  London  to  negotiate  the 
agreement.    Which  is  fair  enough. 

Members  Incensed 

That  was  in  August.  We  wait, 
and  nothing  happens.  So  after  the 
station  has  been  on  the  air  about 
six  weeks  an  organiser  goes  up  to 
Glasgow  and  is  informed  by  the 
Managing  Director  that  it  will  be 
impossible  to  meet  us  for  three  or 
four  weeks.  He  hedged  on  the 
immediate  rectification  of  abuses 
which  it  was  known  existed.  Our 
members  had  other  views.  They 
were  incensed  at  the  management's 
attitude,  seeing  they  were  working 
between  sixty  and  seventy  hours  a 
week  without  a  penny  overtime, 
even  the  sickness  and  suchlike 
clauses  of  the  National  Agreement 
were  not  being  observed,  and  rates 
were  in  many  cases  several  hun- 
dred pounds  a  year  below  what 
they  should  have  been.  Some  tech- 
nicians actually  putting  shows  on 
the  air  were  being  paid  as  little  as 
£6  and  £8  a  week — and  that  for  a 
60-70  hour  week. 

So  Organiser  Paddy  Leach  went 
back  to  the  Managing  Director  and 
said  we  could  only  agree  to  a 
delayed  meeting  if  some  agreement 
could  be  reached  on  back  dating 
and  payment  for  overtime.  The 
company  would  not  agree  to  this. 

The  following  day,  Thursday, 
October  3rd,  our  members  unani- 
mously passed  a  resolution  that 
unless  they  received  satisfactory 
assurances  in  connection  with  the 
national  agreement,  including  com- 
mencement of  negotiations  within 
a  week,  immediate  implementation 
of   a   44-hour   week   with    overtime 

By  the 


payments  thereafter,  and  operation 
of  the  proper  rates  from  the  date 
of  this  first  meeting,  they  would 
take  the  appropriate  industrial 
action  from  6  p.m.  the  following 
Tuesday,  October  8th. 

Despite  Provocation 

This  led  to  meetings  in  London, 
first  with  Bert  Craik  and  then,  on 
Monday,  the  day  before  zero  hour, 
between  Paddy  Leach  and  myself 
and  Mr.  J.  A.  Jelly,  the  General 
Manager  of  Scottish  Television. 
Despite  the  provocation  to  dig  in 
on  the  strict  letter  of  the  law,  we 
met  the  company  on  the  point 
which,  admittedly,  must  be  causing 
them  some  difficulty :  namely  the 
number  of  trainees  they  have  had 
to  employ  at  the  outset.  Taking 
care  of  this  in  Clause  2,  we  signed 
the  following  agreement : 

1.  That  as  from  the  1th  October,  1957, 
all  the  Clauses  of  the  Agreement 
between  members  of  the  Pro- 
gramme Contractors  Association 
and  the  Association  of  Cinemato- 
graph Television  and  allied  Tech- 
nicians shall  be  operated  with  the 
exception  of  Clause  29  as  provided 

2.  That  there  shall  be  immediate  dis- 
cussions between  the  company  and 
the  union  to  vary  for  an  agreed 
period  of  time,  if  it  should  be  found 
necessary,  the  maximum  number  of 
trainees  which  may  be  employed. 

3.  The  company  agree  to  observe  the 
provisions  of  the  Schedule  to  the 
Agreement  with  payment  as  from 
the  next  pay-day.  llth  October, 
1957,  and  to  this  end  discussions- 
shall  commence  immediately  be- 
tween the  company  and  the  union 
to  agree  an   Assimilation   Schedule. 

4.  With  reference  to  the  dates  of  ob- 
servance of  the  above  clauses  it  is 
understood  that  these  refer  to  the 
commencement  of  liability  of  the 
company  and  the  actual  payment 
shall  be  made  to  the  members  of 
the  union  as  soon  as  reasonably 

Agreement  Repudiated 

All  was  well  at  last,  we  thought. 
But  whilst  Paddy  Leach  was 
travelling  up  to  Scotland  to  report 
back  to  our  members,  I  got  a 
phone  call  from  the  Press  at 
Harrogate,  where  I  had  travelled 
to  attend  a  conference  for  A.C.T.T., 
in  which  I  was  told  that  Mr.  Thom- 
son had  repudiated  the  agreement 
signed  by  his  General  Manager. 

So  Paddy  had  to  start  all  over 
again  and  make  clear  to  the  com- 
pany that  unless  the  agreement 
stood  our  members'  resolution  be- 
came operative  and  Scottish  Tele- 
vision would  go  off  the  air,  as 
originally  decided.  We  had  the  full 
support  of  the  other  two  unions 
organising  in  Scottish  Television 
and  there  was  no  doubt  that  our 
action  would  be  completely  effec- 
tive. The  company,  therefore,  had 
second  thoughts  and  decided  to 
recognise  the  agreement  they  had 

Two  issues  ago  we  reviewed  in 
film  &  tv  technician  a  publication 
by  the  Trades  Union  Congress  on 
the  Tolpuddle  Martyrs.  We  don't 
appear  to  have  travelled  far  in  120 
years,  do  we?  Congratulations  to 
our  Scottish  members  on  their 
magnificent  stand.  At  least  they 
haven't  been  sentenced  to  seven 
years'  transportation  for  a  "crime" 
not  all  that  dissimilar  from  their 
Trade  Union  pioneers  in  Dor- 



Editorial  Office: 
2  Soho  Square,  VV.l 

Telephone:     GERrard   8506 

Advertisement   Office: 

5  and  6  Red  Lion  Sq.,  W.C.I 

Telephone:    HOLborn  4972 



November  1957 

Lab  Topics 


The  highlight  of  recent  weeks 
on  the  Laboratories  side  was  the 
presentation,  at  a  party  held  at 
the  Chandos  Hotel  just  as  the  last 
issue  of  the  Journal  was  going  to 
press,  of  a  Scroll  of  Honorary 
Membership  and  a  small  financial 
tribute  to  Bill  Sharp  on  his  retire- 
ment from  Pathe. 

Bill  thus  becomes  the  fourteenth 
Honorary  Member  of  the  Union, 
and  the  first  Laboratories  member 
to  receive  this  honour  for  long  and 
untiring  service  to  A.C.T.T. 

Telegram  from  President 

Anthony  Asquith,  away  on  loca- 
tion, sent  the  following  telegram  : 

"  I  am  more  sorry  than  i  can 
say,  dear  Bill,  to  be  unable  to  join 
tonight  in  honouring  a  most  dis- 
tinguished member  of  A.C.T.T.  and 
a  greatly  esteemed  colleague  and 
friend,  and  I  hope  you  will  accept 
my  apologies  with  all  the  spirit  the 
occasion  demands.  The  unit  join 
me  in  wishing  you  all  possible  hap- 
piness today  and  every  day.  Tony 

George  Elvin  made  the  presen- 
tation. "  Bill  Sharp  is  unique,"  he 
said,  "  we  couldn't  do  better  than 
make  him  Laboratories  Honorary 
Member  Number  One ".  He  re- 
called how  Bill  started  his  working 
life  delivering  milk  in  his  spare 
time  to  help  his  parents  and  from 
that  had  gone  "  to  the  dizzy 
height  of  working  at  Pathe  for 
some  thirty-five  years." 

Working-class  Base 

"  In  our  early  days,"  George 
Elvin  said,  "  we  knew  that  we 
must  have  some  industrial  base  to 
our  Union,  a  hard  base  of  people 
bred  and  born  in  a  working-class 
background.  We  knew  that  what- 
ever happened,  if  there  was  a  row 
with  the  management  we  should 
have  colleagues  in  the  laboratories 
who  would  give  us  sound  and  solid 

"  When  we  decided  to  press  for 
better  conditions  Bill  was  in  the 
vanguard.  One  of  the  reasons  for 
the  respect  for  our  Union  in  the 
industry    was    that    we    have    had 

people  like  Bill  Sharp  who  loyally 
.-support  their  colleagues. 

"  The  last  thing  that  Bill  Sharp 
wants  is  the  limelight,  but  we  in 
A.C.T.T.  are  everlastingly  grateful 
to     people     like     you     and     Frank 

said.  "  Without  it  I  should  have 
fallen  flat  on  my  face  in  the  first 
few  weeks." 

He  recalled  the  day  when  he 
joined  the  Union.  "  Everybody 
seemed    afraid    to    say    it    was    a 

Labs'   Honorary    Member  Number  One 

Fuller  who  have  helped  to  build 
our  organisation." 

Mr.  Bill  Fielder,  General  Man- 
ager  of  Pathe,  who,  with  Mr.  Cyril 
Phillips  of  Pathe  was  among 
A.C.T.T.'s  guests,  said  :  "  Bill  has 
worked  for  Pathe  so  long  that 
we've  got  no  records  to  check  up 
on  him  !  We  wish  him  the  best  of 
luck  and  a  happy  and  long  retire- 

Bill  Sharp,  in  reply,  paid  a  tri- 
bute to  the  help  of  his  A.C.T.T. 
friends  in  the  Lab.  "  I  couldn't 
have    carried    on    without    it,"    he 

Trade  Union,"  he  said.  "  They 
called  it  an  organisation.  I  asked, 
'  Is  it  a  Trade  Union  or  not?'  and 
when  they  said  '  Yes ',  I  said, 
'  Well,   there's  my  dollar,   take   it  '. 

"  After  that  I  thought,  '  We've 
started  this  thing  and  we've  got 
to  carry  it  on  '.  My  father  had  had 
thirteen  weeks  on  strike  and  had 
to  go  and  sing  in  the  streets  to  get 
strike  pay.  That  was  one  of  the 
things  that  had  impressed  on  my 
mind  that  a  Trade  Union  was  the 
one  thing  I  should  be  in  if  ever  I 
got  a  chance." 

November  1957 



Some  days  after  the  ceremony 
George  Elvin  received  a  letter 
from  Bill  Sharp,  in  which  he  said  : 

"  Now  I  would  like  to  say  'thank 
you '  to  A.C.T.T.  for  the  honour 
that  has  been  bestowed  upon  me; 
it  is  something  that  I  shall  cherish 
until  the  end  of  my  days.  Although 
I  have  received  this  honour,  I  think 
a  great  deal  of  the  credit  must  go 
to  our  Branch,  who  in  the  early 
days  gave  me  so  much  confidence 
by  putting  their  faith  in  me  that 
I  was  able  to  go  forward  as  I  did, 
and  I  can  assure  you  that  I  had  no 
regrets;  also  credit  is  due  to  the 
great  help  given  to  me  from  the 
General  Council  in  those  early 

"  It  gives  me  great  pleasure  to 
look  back  to  the  days  from  1935 
to  1939  and  then  to  look  upon 
A.C.T.T.  as  it  stands  today,  and 
then  realise  that  all  the  work  put 
in  by  all  those  early  members  was 
not  in  vain.  It  is  my  wish  to  see 
that  A.C.T.T.  go  on  gathering 
strength  as  time  goes  on,  and  also 
to  see  that  they  do  not  lose  that 
personal  touch  which  I  think  has 
enabled  them  to  reach  the  strength 
they  are  in  today. 

"  My  wife  is  very  proud  of  the 
Scroll  of  Honour  and  says  when  it 
is  framed  it  will  take  up  a  very 
prominent  position  in  our  home. 
She  would  like  to  have  been  with 
us  all  last  Thursday,  but  owing  to 
health  reasons  she  cannot   travel." 

Three  old  hands  leaving 


Syd  Bremson  reports  from  Den- 
ham : 

Everything,  it  is  said,  goes  in 
threes,  and  the  following  is  no  ex- 
ception. First  Charles  Wartman, 
second  Adam  Black,  and  third,  Pop 
Wingrave,  each  within  a  month  or 
two  of  completing  twenty-one 
years'  service,  have  all  left 
within  a  month  or  two  of  each 

Charles  Wartman  was  in  charge 
of  Stores  since  the  opening  of  the 
Laboratories  in  1936,  a  quiet,  un- 
assuming fellow  just  doing  his  job 
in  spite  of  the  handicap  of  being 
minus  one  leg,  lost  during  the 
1914-18  war.  He  managed,  with 
the  aid  of  his  artificial  leg,  to  drive 
a  small  car  from  Cookham  to  Den- 
ham and  would,  in  fact,  be  still 
doing  so  had  he  not,  for  purely 
personal  reasons,  changed  his 
home  to  Shoreham.  Good  luck 
Charles ! 

Adam        Black,        affectionately 


THE  passing  nf  Louis  Levy, 
whose  death  was  announced 
last  month,  must  bring  recollec- 
tions in  the  memories  of  many 
members  who  had  the  great 
pleasure  of  meeting  and  working 
with  so  unique  and  delightful  a 

His  vast  knowledge  and  ex- 
perience of  films  and  the  applica- 
tion of  music  thereto  went  back 
to  the  dim  and  distant  past  of 
early  silent  movies — in  the  latter 
period  of  which  he  and  his 
orchestra  were  the  showpiece  of 
the  new  luxury  "  Pavilions  "  then 
shaping  the  exhibition  side.  Film 
lovers  stormed  the  theatres  as 
much  to  hear  and  see  Louis  Levy 
as  to  view  their  favourite  films 
and  stars. 


With  the  advent  of  "  Talkies " 
the  industry  was  thrown  into  a 
greater  turmoil  than  "  wide- 
screen  ",  TV,  or  any  other  tech- 
nical advance  has  ever  created — 
small  wonder  then  that  with  un- 
completed films  shelved,  produc- 
tion stopped,  studios  outdated  and 
useless  overnight,  Producers  of  the 
calibre  of  Sir  Michael  Balcon, 
Victor  Saville,  Alfred  Hitchcock 
and  the  late  Robert  Flaherty,  to 
name  a  few,  were  delighted  to 
know  that  Louis  Levy  was  avail- 
able to  assist  them  in  the  new 
medium  at  such  a  serious  and  ex- 
perimental  time. 

Humility  and  Patience 

He  had,  despite  his  reputation 
and  great  experience,  a  humility 
and  patience  both  of  which  greatly 
encouraged  those  with  whom  he 
worked.  Sound  Engineers  and 
Editors,  particularly,  found  in  him 

a  sympathetic,  co-operative  and 
loyal  colleague  with  a  quiet  enthu- 
siasm for  obtaining  the  best  pos- 
sible results  in  happy  conjunction 
with  all  departments. 

At  that  time  the  problems  of 
acoustic  treatment,  direct  music 
recording  on  the  set  (in  the 
absence  of  advanced  dubbing  tech- 
niques), etc.  were  many  and  diffi- 
cult. It  can  be  truly  said  that  his 
contributions  to  the  technical  im- 
provements were  great  and  never 
at  the  expense  of  the  other  fellow. 

Annual  Film  Ball 

On  the  social  side  his  musical 
organising  for  the  Annual  Film 
Ball  held  at  the  Albert  Hall  every 
year  during  the  30's  was  stupen- 
dous. To  see — and  hear — the  com- 
bined bands  of  the  Brigade  of 
Guards  together  with  the  two 
orchestras  regularly  employed 
under  his  direction  which  took  the 
floor  at  midnight  was  awe-inspir- 
ing even  to  film  folk  who  flocked 
to  this  occasion  every  year  before 
the  war. 

Radio  Shop  Window 

At  this  time  too  he  induced  the 
B.B.C.  to  take  an  active  interest 
in  film  music  so  that  for  years  his 
"  Music  from  the  Movies "  main- 
tained a  radio  shop-window  for 

Of  recent  years  he  had  con- 
tended cheerfully  with  ill-health, 
but  despite  this,  to  the  end  he 
maintained  his  high  reputation  as 
Musical  Director  to  Associated 
British  Picture  Corporation.  The 
industry  is  poorer  by  the  passing 
of  this  "  great  little  man  ".  We 
all  owe  much  to  so  helpful  a 


known  as  Jock,  moved  into  the 
Laboratories  from  the  Studios  on 
17th  October,  1936.  He  remembers 
the  trials,  tribulations  and  teeth- 
ing troubles  of  those  early  days. 

Served  Apprenticeship 

Jock  has  been  a  Trade  Union 
member  for  forty-five  years,  having 
joined  the  A.S.W.  in  1912,  a  crafts- 
man of  the  old  school,  very  proud 
of  having  served  his  full  five  years' 

apprenticeship.  He  has  been  a 
martyr  to  sciatica  for  the  past  two 
years,  during  which  time  he  has 
been  attending  hospital  twice  a 
week  in  the  hope  of  affecting  a 
cure.  Added  to  this,  Jock  has  now 
developed  a  heart  condition,  and 
has  had  to  retire  almost  at  the  age 
of  sixty-five;  to  quote  his  own 
words,  "Five  years  before  I  wanted 
to".    Never  mind  Jock,  we  all  wish 

(Continued  on  page  155) 



November  1957 


Extracts    from    the    General    Secretary's    Report 

THIS  year's  Labour  Party  Con- 
ference has  led  to  even  more 
post-mortems  than  usually  follow 
the  Party  political  event  of  the 
year.  That  is  due  partly  to  docu- 
ments being  presented  to  the  Con- 
ference by  the  National  Executive 
Committee  which,  in  searching  for 
unanimity,  lacked  clarity,  partly 
because  Labour's  shadow  Foreign 
Secretary,  Aneurin  Bevan,  found 
himself  at  issue  with  the  'Bevanite' 
line  on  the  H  Bomb,  and  partly 
because,  through  Bevan  no  longer 
being  a  "  Bevanite  ",  the  strong 
"  rebel "  element  in  many  con- 
stituency Parties  lost  their  inspira- 
tion and  idol  for  whom  they  have 
no   adequate   replacement. 

Yet,  paradoxically,  far  from  the 
Conference  breaking  up  in  a 
shambles,  it  maintained  a  unity  of 
purpose,  with  minorities  accepting 
majority  decision,  which  is  all- 
important  if  victory  is  to  be  won 
at  the  next  General  Election,  as 
Labour  is  determined  it  shall  be. 

There  were  three  main  debates  : 
on  National  Superannuation,  on 
Public  Ownership,  and  on  Foreign 
Affairs,  including  Disarmament. 

National  Superannuation 

Until  recently  most  of  the 
Labour  Movement,  including  the 
Trades  Union  Congress,  have  been 
opposed  to  State  pensions  being 
based  on  an  individual's  earnings. 
The  policy  document  "  National 
Superannuation  "  approved  by  the 
Conference  shows  how  new  think- 
ing with  investigation  and  re- 
examination of  a  difficult  problem 
can  lead  to  a  different  and  accept- 
able policy. 

No  one  will  quarrel  with  that 
part  of  the  proposals  which  will 
lead  to  a  Labour  Government  rais- 
ing the  basic  old-age  pension  to  £3 
a  week  and  it,  subsequently,  keep- 
ing pace  with  any  rise  in  the  cost 
of  living.  Contention  was  on  the 
proposals  for  eventual  half-pay 
retirement  for  all  on  a  contribu- 
tory scheme  basis  with  the  invest- 
ment of  the  scheme's  funds  in  com- 
mercial firms,  which,  it  was 
claimed,  was  essential  to  make 
such  a  plan  work,  as  did  existing 
private  schemes. 

Some  critics  wanted  the  entire 
scheme    financed    out   of   taxation, 

but  Ft.  H.  S.  Crossman,  who  intro- 
duced the  scheme  for  the  Execu- 
tive, not  only  drew  attention  to  the 
increase  in  taxation  that  this 
might  involve  but  also  argued  that 
the  insurance  principle  was  a  vital 
safeguard,  for  without  it  govern- 
ments could  cut  pensions  in  times 
of  stress. 

Points  not  Pressed 

Mr.  Crossman  also  argued  that 
so  long  as  the  trade  unions  and  the 
community  generally  accepted  dif- 
ferent wage  levels,  so  unequal  pen- 
sions should  be  accepted.  He  also 
pointed  to  the  trade  unions  in 
answering  criticisms  that  the  In- 
surance Fund  should  be  able  to 
invest  in  private  industry,  saying 
some  unions  had  done  so  with 

None  of  the  critics  pressed  their 
points  after  a  very  able  reply  to 
the  discussion  by  Dick  Crossman; 
the  critical  resolutions  were  with- 
drawn and  the  document  itself 

Public  Ownership 

The  second  main  debate  resulted 
in  the  adoption,  by  a  five  to  one 
majority,  of  'Industry  and  Society', 
the  Executive  Committee's  policy 
document  on  future  public  owner- 
ship. It  was  in  many  ways  a  re- 
markable debate,  with  delegates 
such  as  Herbert  Morrison  and 
Emmanuel  Shinwell  leading  the 
rebels  from  the  floor — a  30-40  year 
flashback,  probably.  Criticism  was 
on  two  main  grounds.  Firstly,  it 
was  not  clear  what  the  Executive's 
intentions  were,  and  it  was  clear, 
even  if  unsatisfactory,  that  a  num- 
ber of  critical  delegates  only  with- 
drew their  opposition  on  the 
strength  of  what  the  platform 
spokesmen  interpreted  the  docu- 
ment as  meaning.  Indeed,  Harold 
Wilson  told  us  we  should  have  been 
at  the  Press  conference  when  the 
document  was  published,  then  all 
would    have    been    well! 

The  second  main  ground  of  criti- 
cism was  that,  even  after  the  ex- 
planations and  interpretations,  it 
was  completely  unsatisfactory, 
both  on  the  grounds  of  principle 
and  practicalities,  to  interpret 
Labour's    policy    of    public    owner- 

ship and  control  by  purchasing 
shares  without  necessarily  obtain- 
ing control,  in  a  number  of  the 
country's  key  privately  owned 

The  critics  lost  by  5}  million  to 
li  million  on  the  reference  back 
and  by  6  million  to  600,000  on  the 
amendment.  The  document  was 
then  approved  by  5.309,000  to 

Foreign  Affairs 

On  Foreign  Affairs  there  was  no 
division  in  the  Conference  and  a 
resolution  was  passed  setting  forth 
a  stated  list  of  objectives  includ- 
ing the  peaceful  reunification  of 
Germany;  reduction  in  armaments; 
extension  of  international  trade; 
establishment  of  a  permanent 
United  Nations  police  force;  the 
admission  of  China  to  the  Security 
Council;  and  general  discussion 
with  the  leaders  of  the  U.S.S.R.. 
China  and  Peoples'  Democracies. 


There  were  three  composite 
motions  on  disarmament :  two  in 
general  terms  and  the  third  calling 
for  unilateral  renunciation  by 
Great  Britain  of  the  testing  or 
manufacture  of  nuclear  weapons. 
The  other  resolutions  proposed  the 
immediate  suspension  by  Britain  of 
the  H  Bomb  tests,  but  they  sought 
the  support  of  all  nations  through 
the  United  Nations  for  an  actual 
ban  on  production,  destruction  of 
existing  stocks  and  progressive 

It  was  the  difference  between 
Great  Britain  taking  the  initiative 
in  stopping  production  or,  on  the 
other  hand,  only  moving  by  inter- 
national agreement  with  other 
countries,  that  led  to  Aneurin 
Bevan's  unpopularity  with  his  erst- 
while supporters.  They  wanted  Bri- 
tain to  act  unilaterally.  Bevan  did 

There  was  contradiction  in  argu- 
ment by  Bevan  as  much  as  any- 
body else.  He  made  the  obvious 
point  :  it  is  no  use  producing  if 
you  are  not  going  to  test;  yet  he 
accepted  there  should  be  no  testing 
but  not  the  cessation  of  production. 
He  argued  that  if  Britain  re- 
nounced, unilaterally,  the  use,  test- 
ing and  manufacture  of  nuclear 
weapons,  it  would  be  unable  to 
influence  American  or  Russian 
policies,  and  in  any  case  we 
couldn't  act  alone  in  these  matters, 
having  responsibilities  to  the  Com- 

Eventually,  Mr.  Bevan  carried 
Conference  "with  him  by  5,836,000 
to  781,000,  and  the  other  two  com- 
posite resolutions  were  carried 

George  Elvin. 

November  1957 




A  Missed  Opportunity 

THE  entertainment  industry  is  so 
publicity  conscious  that  I  hope 
I  may  be  forgiven  for  attacking 
the  authorities  for  missing  a  won- 
derful opportunity  of  publicising 
Britain  to  the  world.  It  is  a 
shame  that  Britain,  which  was  the 
first  country  to  issue  postage 
stamps,  should  be  so  unimagina- 
tive in  their  design.  Other  nations 
fanfare  their  achievements  and 
their  culture  to  the  rest  of  the 
globe,  while  we  seldom  have  more 
than  a  few  simple  decorations 
around  the  Sovereign's  head. 

Belgian  Film  Stamp 

To  celebrate  a  film  festival  in 
June  1947  Belgium  issued  a  stamp 
with  a  portrait  of  Dr.  Joseph 
Plateau,  the  Belgian  inventor,  who 
in  1831  commercialised  the  idea  of 
moving  cartoons  by  sketching 
drawings  on  a  cylinder;  when  the 
cylinder  revolved,  the  audience, 
looking  through  a  peephole  in 
front,  saw  the  drawings  move.  In 
1949  the  Russians  issued  a  stamp 
to  mark  the  30th  anniversary  of 
Soviet  moving  pictures,  and  this 
year  both  France  and  the  Federal 
German  Republic  have  issued 
stamps  on  the  theme  of  television, 
and  you  can  see  reproductions  of 
them  on  this  page. 

•      1^amO^^^O^^qi-T-o^Tj:--v:^-1-Lii.JiTiM>,l-      ' 


cjllllf^P"^"1  "  '"^ISo 







x               • •••■■«  •  . 

^    BUN O'E'S  POST 


The  rather  abstract  design  of 
the  West  German  one,  which  was 
issued  on  August  23rd,  although 
not  to  my  personal  taste,  is  simple 
and  effective;  it  was  chosen  after 
two  competitions  had  been  held, 
and  is  said  to  suggest  the  lattice 
of  light  that  appears  on  the  TV 
screen,  when  the  set  is  switched  on 
and  off. 

Since  the  recent  rise  in  postage 
rates  (a  heavy  burden  on  A.C.T.T., 
incidentally),    one    might    imagine 

that  stamps  were  expensive  things 
to  print.  Actually,  stamps  of 
Great  Britain  cost  only  some  6id. 
per  thousand  to  produce,  so  why 
couldn't  we  have  had  a  special  set 
last  month  to  celebrate  the  21st 
anniversary  of  Pinewood  Studios  ? 
Not  only  would 
this  have  helped 
in  the  impor- 
tant work  of 
p  o  p  u  1  arising 
British  pictures 
abroad,  but  it 
would  also  have 
told  our  own 
citizens  of  the 
achievements   of 

British  technicians,  craftsmen, 
artistes  and  producers  in  one  of 
our  finest  film  production  centres. 
Further,  it  would  have  brought  in 
thousands  of  pounds,  dollars, 
francs,  roubles,  pesetas,  forints 
and  other  currencies  from  the 
world's  stamp  collectors. 

Among  the  British  inventors  in 
the  field  of  kinematography  and 
TV,  Britain  could  issue  commem- 
oratives  of  William  Friese-Greene, 
Robert  W.  Paul,  Alexander  Parkes, 
John  Logie  Baird  and  J.  Arthur 
Roebuck  Rudge.  Incidentally,  do 
you  know  for  what  these  men  are 
famous?  You  should,  you  know, 
but  in  case  not,  I  give  you  thumb- 
nail biographies  at  the  end  of  this 


In  speaking  my  mind  openly  in 
print  like  this  it  sometimes 
happens  that  I  fearlessly  say  some- 
thing which  frightens  the  Editor 
so  much  that  he  cuts  it  out!  That 
happened  last  month,  but  he  made 
it  up  by  sending  me  to  meet  the 
celebrated  Soviet  actor,  Nikolai 
Cherkassov,  who  was  introduced  to 
me  by  my  friend  Lindsay  Ander- 

Cherkassov  is  one  of  the  few 
Soviet  film  stars  who  is  at  all 
well  known  in  this  country,  having 
played  such  outstanding  roles  as 
Ivan  in  Eisenstein's  /ran  the 
Terrible  and  Professor  Polezhayev 
in  Baltic  Deputy,  and  we  shall  soon 
be  seeing  him  in  what  promises  to 
be  his  most  interesting  and  exact- 
ing part,  Don  Quixote. 

In  appearance  he  is  a  mixture 
of   Vic   Oliver   and    R.    J.    Minney, 



with  as  much  vitality  as  both  of 
them  put  together.  He  answered 
our  questions  with  great  charm, 
humour — and  tremendous  know- 
ledge. In  reply  to  a  question  of 
mine,  he  made  the  startling  re- 
velation for  a  famous  star  that 
he  did  not  like 
appearing  in 
close-ups.  The 
reason  is  that 
he  finds  that 
technique  often 
gets  in  the  way 
of  an  actor's 
self  -  expression, 
and  in  what  he 
calls  "  the  nar- 
row screen  "  he  feels  too  confined. 


I  found  this  a  refreshing  point 
of  view,  as  so  many  serious 
artistes  in  the  West  take  a  scorn- 
ful attitude  towards  wide  screen. 
For  Nikolai  Cherkassov  the  wider 
field  gives  more  scope — but  maybe 
this  is  because  his  main  work  is 
on  the  stage  (at  the  famous 
Pushkin  Theatre  in  Leningrad). 
I  liked,  too,  his  open  admission  of 
the  faults  in  Soviet  pictures — 
"  heaviness  is  perhaps  one  of  our 
national  shortcomings,"  he  replied 
to  a  questioner  who  wanted  to 
know  if  any  Soviet  productions 
were  being  specially  tailored  to 
Western  tastes.  No,  he  continued, 
Soviet  films  were  made  first  and 
foremost  for  their  own  people.  I 
wish  we  could  say  the  same  about 
our  pictures — they  would  be  far 
more  true-to-life,  if  they  were. 

Now  for  the  answers  to  my 
general  knowledge  test: 

William  Friese-Greene  (1855- 
1921).  His  patent  of  June  21st, 
1889,  is  the  first  in  the  world  to 
give  full  particulars  for  both 
taking  and  showing  moving 
pictures  by  photographic  means. 
He  made  a  camera,  which  took 
about  ten  pictures  a  second  on 
celluloid  strip,  he  printed  this  film 
and  showed  it  on  a  screen,  the 
intermittent  pictures  merging  to 
give   the   impression  of  movement. 

Robert  W.  Paul  (1869-1943)  was 
primarily  a  scientific  instrument 
maker,  and  became  one  of  the  first 

(Continued  on  page  158) 



November  1957 

The  fortieth  anniversary  of  the  Soviet  Film  Industry  will  be  marked 
in  November  by  a  season  of 


RATHER  than  dwell  on  the 
Soviet  pictures  of  the  past — 
the  classics  of  Eisenstein,  Pudov- 
kin,  Dovzhenko  and  others  —  I 
should  like  to  mark  the  fortieth 
anniversary  of  the  Soviet  film  in- 
dustry by  giving  a  preview  of  some 
of  the  new  films  coming  from  their 
studios,  especially  those  soon  to  be 
seen  at  the  Season  of  Soviet  Films 
in  London  this  November.  Perhaps 
in  this  way  you  will  see  the  youth- 
ful freshness  and  spirit  of  an  in- 
dustry that  is  expecting  to  expand 
from  eighty-five  first  features  last 
year  to  some  hundred  this. 

Development  of  New  Directors 

One  of  the  most  successful  inno- 
vations of  recent  years  has  been 
the  development  of  a  new  genera- 
tion of  Soviet  directors  and  artists 
by  the  already  established  ones, 
each  of  whom  has  taken  one  or 
more  under  his  wing.  The  new 
graduates  have  come  mainly  from 
the  Institute  of  Cinematography, 
in  Moscow,  and  are  generally  in 
their  early  thirties.  One  of  the 
best  examples  of  the  new  school  is 
Grigori  Chukhrai's  The  Forty 
First,  which  opens  the  London 
Season  at  the  Palace  Theatre  on 
November  3;  since  the  Cannes 
film  festival  earlier  this  year, 
where  it  won  a  special  prize,  The 
Forty  First  has  received  more 
favourable  comment  in  the  Western 
World  than  any  other  Soviet  pic- 
ture, not  excluding  The  Battleship 

Yosif  Hcifitz,  who  has  made  many 
t.rue-to-life  and  deeply  moving 
human  pictures.  Sasha  Rumyant- 
sev  is  a  young  lorry  driver  who 
finds  himself  the  innocent  victim 
of   a   gang  of  crooks.    One   might 

This    story    of   a 
sniper    in    the    Civil 
who    falls    in    love 
Guard     prisoner,     is 
Potemkin,  although 
elements  to  make  it 
lar    and    acceptable 
films  among  British 

young  woman 
War    of    1919, 

with    a    White 

not     another 

it   has   all   the 

the  most  popu- 
of  all  Soviet 

This  film  was  not  just  a  flash- 
in-the-pan  —  there  is,  in  fact,  a 
stream  of  pictures  on  the  most 
varied  themes  now  emerging  from 
Soviet  studios.  The  days  when 
breaking  production  records  on  col- 
lective farms  formed  the  basic 
formula  for  film-makers  have  gone 
for  ever.  One  of  the  most  popular 
productions  among  Soviet  audien- 
ces last  year  was  The  Rumyantst  i 
Case     (in     Sovcolor),     directed     by 



suppose  that  The  Rumyantsev  Case 
was  just  another  thriller — a  type 
of  film  up  to  now  rare  in  the 
USSR,  but  all  too  common  here 
and  in  America.  But  the  film's 
makers  have  created  something 
quite  different — a  psychological 
drama  of  great  intensity  that  only 
uses  the  crime  theme  to  show  its 
main  characters  in  action.  The 
various  attitudes  of  Sasha's  friends 
and  workmates  to  his  predicament, 
and  in  particular  the  moving  scene 
in  which  his  best  friend  adopts  a 
young  child  from  an  orphanage, 
stand  to  make  this  a  modern 
screen  classic. 

Too  Few  Comedies 

Comedies  and  musicals  are  still 
far  too  few,  but  the  colour  musical 
comedy  Carnival  Night,  and  the 
children's  film  Old  Khnttabych 
(also  in  colour),  will  show  that  the 
Russians  have  not  lost  their  sense 
of  humour.  I  am  sure  that  British 
audiences  will  also  appreciate  the 
satire  in  Carnival  Night,  which  is 
about  how  the  plans  for  a  New 
Year  concert  at  a  factory  club  are 
nearly  wrecked  by  the  man  tem- 
porarily in  charge  with  his  pom- 
pous counter-plans;  he  wants  to 
"enlarge"  the  quartet  and  swap  the 
youth  jazz  band  with  an  orchestra 
of  ancient  musicians;  but  (need  I 
add?)  all  turns  out  well  with  the 
concert — and  with  Grisha,  the  elec- 
trician, who  has  fallen  in  love  with 
Lena,  the  pretty  young  singer  and 
dancer.  Lena  is  played  by  the  ver- 
satile and  vivacious  Liudmilla 
Gurchcnko,     who    studied     at     the 

Institute  of  Cinematography,  and 
who  in  appearance  might  be  called 
a  Soviet  Pat  Roc. 

Youngsters,  in  particular,  will 
love  the  adventures  in  Old  Khntta- 
bych of  the  Moscow  schoolboy, 
Volka,  who  discovers  an  old  jar 
while  swimming;  when  he  opens  it. 
out  comes  the  Jinni,  Khottabych, 
who  performs  incredible  miracles 
for  him  :  he  plucks  a  hair  from 
his  long  beard  and  caravans  of 
camels  loaded  with  gold  and  pre- 
cious stones  appear;  he  can  pass 
through  a  thick  wall,  and,  if  he 
likes,  can  alter  the  course  of  a 
football  match.  In  fact,  the  old 
magician  shows  his  powers  in  a 
multitude  of  ways,  accidentally 
putting  Volka  in  many  a  stupid 
and  ridiculous  situation. 

Rounded  People 

Now,  in  contrast,  there  is  a  story 
of  romantic-spirited  men  and 
women  who  find  the  extraordinary, 
not  in  dreams  of  fantasy,  but  in 
their  daily  work.  Jolly  and  un- 
selfish, mischievous  and  kind- 
hearted,  forthright  people,  who 
love  and  hate  with  passion — such 
are  the  heroes  of  Great  Height, 
produced  and  directed  by  A.  Zarkhi, 
which  won  a  main  prize  at  the 
Karlovy  Vary  film  festival  in 
Czechoslovakia  this  year.  This 
dramatic,  human  story  is  about  a 
team  of  men  who  come  to  work 
on  the  assembly  of  a  new  blast  fur- 
nace. Great  Height  is  one  of  many 
examples  that  I  could  give  of  how 
Soviet  films  have  got  away  from  a 
rigid  "black  and  white"  manner  of 
a  few  years  ago;  the  people  in  it 
are  rounded,  life-like  persons,  not 
just  characters  representing  heroes 
and  villains.  Soviet  audiences  have 
a  great  hunger  for  such  stories 
with  contemporary  backgrounds — 
ether  recent  films  have  dealt  with 
such  themes  as  juvenile  delin- 
quency, housing  problems,  living 
with  in-laws,  black  marketeering. 
unmarried   mothers,   and   red   tape. 

Many  critics  at  the  Edinburgh 
festival  last  year  praised  the 
simple  and  touching  Magdana's 
Donkey,  when  it  was  awarded  a 
Diploma  of  Merit  there.  The  USSR 
has  a  number  of  autonomous  film 
production   centres  spread  over  all 

November  1957 



Above:   "The  Forty-First",   which  won   a   special  prize  at  Cannes, 
opens   the   London   season.      Below:    "  Magdana's   Donkey  " 

Russian  film-makers  have  dis- 
covered that  new  techniques  alone 
do  not  produce  good  productions, 
and  there  has  been  a  return  to  the 
normal  size  black-and-white  pic- 
ture, where  the  nature  of  the  sub- 
ject demands  it. 

In  conclusion  I  must  mention  a 
technique  that  is  also  common  to 
both  our  countries,  because  it 
greatly  increases  our  ability  to 
understand  and  appreciate  each 
other's  films  —  foreign  language 
dubbing.  The  showing  of  the  Soviet 
film  Othello  at  the  Royal  Festival 
Hall  this  summer  marked  the  first 
public  performance  of  a  Soviet  film 
dubbed  into  English  since  the  war. 

The  clubbing  of  Othello,  which 
has  been  brilliantly  done  by  the 
De  Lane  Lea  process  in  Britain,  is 
the  first  of  a  series  which  includes 
Twelfth  N^ght,  Skanderbeg,  Carni- 
val Night,  The  Forty  First  and 
Don  Quixote.  Dubbing  of  this 
calibre  greatly  increases  the  audi- 
ences for  such  films  in  a  way  that 
sub-titles  could  never  do.  The  fact 
that  British  technicians  and  artists 
have  had  considerable  employment 
in  this  work  has  been  a  further 
welcome  way  of  celebrating  the 
anniversary  of  a  film  industry 
that  is  forty  years  young  this 

the  Republics,  and  this  one  comes 
from  the  Georgian  studios.  It  is  a 
local  story  from  the  last  century  of 
a  poor  peasant  widow  and  her 
three  children,  who  find  a  sick 
donkey  on  the  road,  and  nurse  it 
back  to  health.  Incidentally,  the 
independence  of  the  local  studios  is 
an  important  feature  in  the  new 
policy  of  decentralisation  which 
has  recently  been  adopted  in  the 
USSR.  The  job  of  the  film  depart- 
ment of  the  Ministry  of  Culture  is 
to  co-ordinate  the  production  of  the 
many  studios  without  interfering 
with  the  artistic  side,  which  is  left 
entirely  to  the  producers,  directors, 
stars  and  technicians. 

Finally,  a  film  from  the  popular 
treasury  of  Russian  classics,  The 
Grasshopper,  which  is  based  on  a 
short  story  by  Anton  Chekhov.  For 
many  Londoners  this  will  be  a  most 
welcome  return  of  a  colour  picture 
that  ran  for  a  most  successful 
season  at  the  Everyman,  Hamp- 
stead,  nearly  a  year  ago. 

I  have  left  to  last  the  technical 
advances  of  Soviet  film  production 
— perhaps  readers  of  film  and  tv 
technician  will  be  the  best  judges 
of  that,  anyway.  I  should  mention, 
however,  that  new  techniques  have 
come  to  the  fore,  including  Sov- 
scope  (an  equivalent  of  Cinema- 
Scope),  stereophonic  sound,  and 
panorama  (similar  to  Cinerama). 
But    like    their    British    colleagues, 



November  1957 

Organisers'  Page 


IT  is  always  gratifying  to  watch 
any  increase  in  membership  of  a 
Trade  Union,  and  it  is  therefore 
most  interesting  to  note  the  steady 
strides  which  A.C.T.T.  is  making. 
Since  the  beginning  of  the  year 
approximately  1,000  applications 
for  membership  have  come  in. 
Naturally  quite  a  considerable 
number,  but  by  no  means  all,  have 
come  from  the  Television  Studios, 
thanks  to  the  efforts  of  Paddy 
Leech  and  his  colleagues  in  Tele- 
vision. The  flow  of  applications 
also  indicates  that  the  film  studios 
are  much  more  busy  than  is  usual 
at  this  time  of  the  year.  The  pro- 
gramme already  envisaged  by 
many  studios  suggests  that  there 
will  be  far  fewer  A.C.T.T.  mem- 
bers not  working  than  is  usual  at 
this  season. 


I  understand  that  at  last  a  start 
has  been  made  on  the  roofs  of  the 
stages  at  Shepperton  and  this 
again,  although  it  will  probably  be 
a  long  job,  will  have  the  effect  of 
giving  more  studio  space  and 
therefore  more  work  for  our  mem- 

This  is  all  to  the  good,  as  the 
most  important  thing  in  any  Trade 
Union  Organisation  is  a  strong 
membership.  With  membership, 
however,  there  are  of  course  res- 
ponsibilities, and  it  is  regretted 
that  at  times  there  are  not  suffi- 
cient members  at  a  section  com- 
mittee or  full  meeting  for  points 
of  vital  interest  to  be  discussed. 
One  evening  a  month,  or  perhaps 
even  not  so  often,  is  not  a  great 
deal  of  time  to  give  to  problems 
which  are  of  paramount  interest  to 
your  conditions  and  interests. 

New   Studio  in   Eire 

We  have  received  some  interest- 
ing information  of  a  new  studio 
which  is  being  opened  in  Eire,  near 
Dublin.  From  what  we  have 
heard  it  seems  that  there  is  a 
possibility  of  quite  a  good-sized 
studio  eventually  emerging.  What 
effect  this  may  have  on  our  mem- 
bership it  is  as  yet  too  early  to  say, 
but  it  would  appear  that  there  will 
be  a  call  for  a  number  of  techni- 

The  Irish  press,  reporting  on  a 
press   conference   held   by  the   pro- 

moters, stated  that  already  there 
had  been  applications  from  techni- 
cians at  present  working  in  this 
country.  Head  Office  are  watching 
the  developments  with  interest  and 
if  any  member  has  any  useful  in- 
formation to  pass  to  us  we  should 
be  pleased  to  receive  it. 



Earlier  this  year,  as  was  re- 
ported in  the  August  FILM  &  TV 
technician,  a  Conference  was  held, 
which  Sidney  Cole  and  I  attended, 
to  attempt  to  bring  Paul  Robeson 
to  this  country  to  sing  and  act. 
The  slogan  at  this  Conference  was 
"  Let  Paul  Robeson  Sing  ",  and  it 
was  sponsored  by  a  very  large 
number  of  well-known  people  in 
the  fields  of  art  and  culture,  to- 
gether with  many  prominent  politi- 
cal and  Trade  Union  leaders.  As  a 
result  of  the  initiative  of  George 
Elvin  and  others  a  meeting  has 
been  held  of  representatives  of 
unions  within  the  entertainment 
industry.  The  one  object  of  this 
committee  is  to  attempt  to  bring 
still  further  pressure  on  the 
authorities  in  the  United  States  to 
enable  Robeson  to  visit  this 
country,  where  it  is  certain  that  a 
great  welcome  awaits  him. 

A   Chance 

According  to  a  message  which 
Robeson  delivered  by  Trans-Atlan- 
tic telephone  when  he  spoke  and 
sang  to  the  Eistedffod  organised  by 
the  South  Wales  miners  he  has 
now  received  permission  to  travel 
to  any  point  in  the  Americas;  it  is 
assumed  that  this  means  that  at 
last  there  is  a  possibility  of  Robe- 
son being  allowed  again  to  visit 
other  countries.  I  am  sure  that  if 
we  as  an  Association  can  assist  in 
common  with  the  other  unions  in 
entertainment  to  do  anything  in 
this  direction  it  will  be  appre- 
ciated not  only  by  A.C.T.T.  mem- 
bers but  by  many,  many  other 
Trade  Unionists  throughout  this 
country.  Sir  Tom  O'Brien,  on  be- 
half  of   N.A.T.K.E.,    has    promised 

his  help,  and  the  Musicians'  Union, 
British  Actors'  Equity  and  the 
Electrical  Trades  Union  also 
attended  the  initial  meeting. 

Charles  Bishop,  former  Secre- 
tary of  the  Art  Section,  has  made 
unavailing  efforts  again  to  launch 
the  Art  Department  Year  Book.  It 
is  to  be  regretted  that  there  was 
not  sufficient  response  for  the  pro- 
ject to  go  forward.  All  members 
who  had  paid  for  the  proposed 
book  were  circularised  asking  their 
wishes  in  the  matter.  The  result 
was  that  the  very  large  majority 
agreed  that  any  outstanding 
monies  should  be  used  for  some 
charitable  object.  At  the  last  meet- 
ing of  the  section  £13  5s.  Od.  was 
handed  to  the  A.C.T.T.  Benevolent 
Fund.  Hearty  thanks  are  due  to 
Mr.  Bishop  for  his  efforts  in  this 
connection  and  to  the  members  for 
this  welcome  contribution  to  the 
Benevolent  Fund. 

Subs,  in  Arrears 

We  spent  quite  a  lot  of  time  at 
Head  Office  trying  to  trace  the 
comparatively  few  members  who 
are  in  arrears;  it  is  true  to  say 
that  they  are  not  many  but  it  is 
all  extra  work.  On  occasions  we 
get  in  unit  lists  and  find  names  of 
members  who  have  paid  no  sub- 
scriptions for  some  time.  I  would 
remind  members  that  annual  sub- 
scriptions are  payable  in  advance 
and  that  it  is  the  responsibility  of 
the  member  to  see  that  his  subs 
are  paid.  On  a  recent  location  of 
about  twenty  members  no  less 
than  half  were  found  to  be  in 
arrears.  In  no  case  was  it  due  to 
anything  more  than  forgetfulness, 
but  it  does  cause  extra  work. 

The  work  of  A.C.T.T.  has  to  go 
on  and  if  the  majority  of  members 
were  as  slack  as  the  minority  it 
would  possibly  create  a  serious 
position  financially. 

Flash  from  recent  location  meet- 
ing. A  discussion  had  been  held  on 
the  type  of  generator  to  be  used  on 
the  job.  An  A.C.T.T.  member  gave 
his  forceful  but  impolite  opinion  on 
the  type  of  generator.  N.A.T.K.E. 
also  said  a  few  words  from  the 
angle  of  having  to  man-handle  the 
thing  into  position.  Comment  from 
the  E.T.u.  representative  :  "  it  is  a 
very  good  generator,  the  only  thing 
about  it  is,  it  keeps  going  wrong." 

November  1957 



Lab  Topics 


you  well  and  know  that  your  Car- 
penters' Shop  will  never  be  the 
same  again — especially  when  Jim, 
Joe  and  the  others  have  a  tidy  up 
in  there.  May  you  enjoy  many 
years  of  odd  jobbing  in  your  re- 

Pop  Wingrave  came  to  the  Lab- 
oratories as  a  Still  Man.  He  had 
worked  at  stills  with  a  firm  in 
Watford  since  he  was  fourteen  and 
was  naturally  disappointed  when 
he  was  put  in  to  the  Viewing  De- 
partment by  Gare  Schwartz  where, 
together  with  Bill  Collo,  he  was 
made  responsible  for  1st  prints  and 
West  End  Show  Copies.  Neverthe- 
less, he  carried  on  with  this  until 
1942,  when  he  was  given  charge 
of  the  Circulation  Department 
(mixing  solutions,  etc.  for  the 
Developing  Units). 

Pop  was  (and  still  is)  a  very 
placid  man,  only  getting  upset  if 
told  to  dismiss  any  of  his  men — 
this  he  never  did  and  the  three 
dozen  or  so  trainees  who  passed 
through  his  hands  feel  that  they 
owe  him  a  debt  which  they  can 
never  repay. 

National  Savings 

From  1942  Pop  took  over  the 
National  Savings  Campaign  and  in 
the  same  year  pushed  savings  up 
to  £1,000  per  year.  He  continued 
to  run  the  savings  group — ever 
increasing  the  takings — but  had  to 
disband  it  at  the  time  of  the  lock- 

Pop  remained  in  sole  charge  of 
his  department  until  1950  when, 
with  the  expansion  of  the  Labora- 
tories and  the  introduction  of 
colour,  the  management  engaged  a 
qualified  Chemist.  This,  of  course, 
meant  more  work  for  Pop,  which 
he  undertook  with  his  usual  cheer- 
fulness and  loyalty,  for  among  his 
qualities  his  loyalty  was  unques- 

He  served  on  the  A.C.T.T.  Com- 
mittee for  four  years  and  managed 
to  remain  loyal  both  to  the  Union 
and  the  Management. 

For  the  record  Pop  is  74  years 
"  young  ",  and  his  advice  for  keep- 
ing young  is  as  follows  :  A  happy 
family  life — no  secrets  from  the 
wife — the  love  of  children  and, 
when  the  grandchildren  come 
along  just  keep  up  with  the 
youngest.  Pop  tells  us  that  he  en- 
joyed good  health  throughout  his 
working  life,  but  some  years  ago 
had    a    fairly    serious    illness.     He 

feels  eternally  grateful  to  the 
Management  for  the  nice  way  they 
treated  him  when  on  his  return  he 
was  told  that  he  could  come  and  go 
as  he  wished,  and  "  don't  worry 
about  your  44  hours  ".  But  such  is 
Pop's  nature  that  he  has  never 
abused  this  concession.  He  likes 
work  as  a  means  of  keeping  his 
mind  occupied  and  would,  in  fact, 
still  be  at  the  Laboratories  had  it 
not  been  that  his  wife's  health 
has  forced  him  to  retire. 

My  personal  tribute  to  Pop  Win- 
grave  (in  which  I  am  sure  all  the 
boys  and  girls  at  Rank  Labora- 
tories will  join)  is  to  say  how  much 
he  will  be  missed  from  the  daily 
scene.  He  was  friendly  with  every- 
body, young  and  old,  always  ready 
to  help  others  and  always  doing 
something  for  somebody;  in  fact, 
a  man  who  knew  the  meaning  of 
Christian  Charity — a  fine  "young" 
Christian  Gentleman. 


Stan  Warbey  writes:  I  am  glad 
to  report  that  most  of  the  members 
at  Pathe,  Elstree  who  contracted 
Asian  'flu  have  now  recovered; 
which  is  just  as  well  because  the 
staff  were  sadly  depleted  during 
the  epidemic. 

We  have  also  had  a  bout  of  the 
"  love  bug ",  because  three  mem- 
bers were  married  within  four 
weeks :  Sheila  Marsh,  now  Mrs. 
Coughlan;  Eileen  Murdock,  now 
Mrs.  Poyner,  and  Gordon  Beavis, 
each  of  whom  were  presented  with 
a  wedding  present  from  their  fel- 
low members,  the  presentation 
being  made  by  Mr.  Ash,  the  Super- 

With  the  summer  holiday  period 
over  our  thoughts,  naturally,  have 
turned  to  Christmas,  and  provi- 
sional arrangements  are  already  in 
hand  for  a  staff  Christmas  dinner 
party,  for  which  there  is  already 
very  good  support.  In  the  past  we 
have  had  a  running  buffet  but  this 
year  members  have  started  collec- 
tions early  in  order  that  we  may 
have  a  dinner  instead,  as  this 
seems  to  be  the  popular  choice. 

I  had  a  phone  call  from  an  ex- 
A.C.T.T.  member,  Brian  Francis, 
to  tell  me  he  is  now  the  proud 
father  of  a  baby  boy — David,  and 
also  that  he  is  hoping  to  visit  his 
old  friends  at  the  Lab  soon.  Con- 
gratulations Brian. 

Fred  Cull  reports  from  Pathe, 
Wardour  Street,  that  Margaret 
Shoebridge,  who  joined  Pathe  Labs 
(Wardour  Street)  from  Kays,  Soho 
Square,  as  optical  assembler,  will 
be  working  with  Mick  St.  John, 
also  formerly  of  Kays,  who  is  now 
Rostrum     Cameraman     at     Pathe 

Labs.  Basil  Smith,  also  formerly  of 
Kays,  is  now  a  Printer  at  Pathe. 

His  colleagues  offer  their  best 
wishes  to  Alan  Soanes  who  leaves 
Pathe  Labs  after  eight  years  to 
take  up  a  job  as  Assistant  Editor 
at  Shepperton  Studios.  Alan 
worked  in  Printing  and  afterwards 
in  the  negative  room. 

Shorts  &  Documentary 


Our  Section  half-yearly  general 
meeting  took  place  in  the  Crown 
Theatre,  Wardour  Street,  on  Wed- 
nesday, 2nd  October.  The  meeting 
was  very  well  attended,  in  fact  we 
had  a  full  house  as  far  as  seating 
capacity  was  concerned. 

The  business  was  mainly  a  re- 
port of  the  Committee's  activities 
during  the  previous  six  months, 
and  there  was  very  little  discus- 

Item  three  on  the  agenda 
brought  a  new  member  on  to  the 
Committee,  namely  Roy  Pace  of 
TV  Cartoons.  The  vacancy  was 
brought  about  by  the  resignation 
of  Ralph  Bond,  who  had  been 
advised  to  cut  down  on  evening 
activities  as  he  has  been  overdoing 
it  and  has  got  to  take  it  easy  for 
a  little  while. 

The  usual  practice  in  such  cases 
is  to  take  the  next  on  the  list  of 
nominations,  taken  at  the  A.G.M. 
This  happened  to  be  Walter 
Lassally,  but  he,  when  invited  to 
serve  on  the  Committee,  had  to 
refuse  the  offer  as  he  may  be  out 
of  the  country  on  location  for  some 
considerable  time. 

The  meeting  also  marked  the 
start  of  our  new  series  of  film 
shows,  the  "  follow-up  "  of  those 
very  successful  ones  we  had  last 

The  films  shown  were  The  World 
of  Little  Ig,  a  cartoon  made  by 
Halas  and  Batchelor,  and  High 
Speed  Flight,  Part  1:  Approaching 
the  Speed  of  Sound,  made  by  the 
Shell  Film  Unit  and  directed  by 
Peter  de  Normanville.  Both  films 
won  first  prizes  at  the  Venice  Film 

The  World  of  Little  Ig  dealt  with 
a  little  character  named  Ig  and 
his    escapades    when    his    mother 

(Continued  on  page  158) 



November  1957 

General  Council  in  Session 


Arising  out  of  the  two  Con- 
ferences on  new  entrants  to  the 
Union,  the  Executive  Committee 
had  recommended  that: 

1.  When  the  General  Council 
appoints  a  Committee  to  re- 
examine any  changes  in  Rule 
which  may  be  required,  the 
question  of  the  desirability 
or  otherwise  of  Probationary 
Membership  in  Television 
should  be  examined. 

2.  The  following  should  form 
the  New  Entrants  Com- 
mittee, which  should  take  the 
report  of  the  recall  Con- 
ference as  its  brief  and  work 
along  similar  lines  to  the 
previous  New  Entrants  Com- 
mittee: Fred  Swann,  Eric 
Pask,  Lindsay  Anderson,  Alf 
Cooper,  Bill  Whittemore, 
Ken  Gordon,  Tony  Shine  and 
Charles  Wheeler. 

The  Committee  should  report  to 
the  Executive  how,  in  their 
opinion,  all  the  various  Rules  re- 
lating to  membership  should 

3.  Head  Office  should  work  out 
a  scheme  for  dealing  with 
the  administrative  problem 
of  sending  out  8,000  new 
membership  cards  at  the  end 
of  the  year. 

4.  The  General  Secretary  should 
discuss  with  the  staff  the 
possibility  of  arranging  a 
rota  system  for  a  period  of 
at  least  six  weeks,  under 
which  one  member  of  the 
staff  be  available  from  8.30 
a.m.  on  Monday  mornings  to 
deal  with  urgent  employment 

These  proposals  were  endorsed, 
and  it  was  reported  that  the  staff 
had  agreed  to  point  4,  which  was 
now  in  operation.  Other  recom- 
mendations of  the  Executive  with 
regard  to  individual  applications 
for  membership  were  discussed  at 
length  by  the  Council,  and  while 
a  number  of  them  were  endorsed, 
others  were  referred  back  due  to 
representations  of  two  of  the  de- 
partmental sections. 

TIONS: The  Criterion,  Piccadilly 
Circus,  has  been  booked  for  Fri- 
day, February  7th.  The  function 
could  continue  into  the  early  hours 

of  Saturday  morning.  The  Finance 
and  General  Purposes  Committee 
recommended  that  the  charge 
should  be  10/-  per  head  so  that 
all  members  desiring  to  do  so 
could  attend.  This  would  mean 
part  of  the  cost  would  be  borne 
out  of  Union  funds.  The  General 
Council  endorsed  these  proposals 
and  it  was  agreed  to  make  tickets 
available  to  unemployed  members 
at  half  price. 


TRADE  UNIONS:  It  was  reported 
that  the  Technicolor  and  Kodak 
shops  had  accepted  invitations  to 
send  observers  with  speaking 
rights  to  the  forthcoming  Con- 
gress of  the  World  Federation  of 
Trade  Unions.  The  General  Secre- 
tary expressed  the  view  that, 
while  he  was  sure  the  Union,  as 
always,  would  want  to  protect  the 
personal  freedom  of  individual 
members,  it  would  only  make  for 
difficulty,  in  view  of  the  well- 
known  policy  of  the  other  inter- 
national trade  union  federation, 
the  I.C.F.T.U.,  to  which  the  T.U.C. 
was  affiliated,  if  any  representa- 
tives went  officially  from  A.C.T.T., 
either  nationally  or  locally,  as  was 
clear  from  statements  made  to 
other  affiliated  trade  unions  in  the 
past  by  the  T.U.C.  General 
Council.  This  was  endorsed  by 
the  Council. 

for  inserting  the  grades  Vista- 
Vision  and  Optical  Colour  Printer 
in  the  Laboratory  Technical  and 
General  Grades  Agreement  was 
submitted  to  the  F.L.A.  at  a  joint 
meeting.  We  argued  that  the 
work  performed  by  these  grades 
justified  a  minimum  basic  rate  of 
£13  9s.  4d.  in  the  case  of  Optical 
Colour  Printers  and  £10  16s.  4d.  in 
the  case  of  the  VistaVision 
printers.  The  F.L.A.  were  unable 
to  accept  our  arguments  and  in- 
vited us  to  visit  Technicolor  and 
the  Rank  Laboratories  (Denham) 
to  examine  the  work.  A  further 
joint  meeting  could  then  be  held  if 
A.C.T.T.  so  desired.  The  Labora- 
tory Negotiating  Committee  de- 
cided to  take  advantage  of  the  in- 
vitation and  arrangements  are 
being  made  for  the  visits. 

STREET:  Following  on  Bessie 
Bond's  report  of  last  month,  a 
further  meeting  with  the  Manage- 
ment was  held  and,  after  quite 
tough  negotiation,  a  very  satis- 
factory letter  has  been  received 
signed  by  both  the  Director  and 
Secretary  of  the  Company. 
Although  the  dispute  was  with  the 
Cartoon  unit  only,  the  company 
undertake  to  have  discussions  with 
A.C.T.T.  before  dismissals  are 
effected  by  all  their  companies 
within  the  group.  Our  members 
are  delighted  with  the  outcome, 
and  the  Organiser  wrote  thanking 
them  for  the  stand  they  took 
which  made  this  victory  possible. 
Shop  Stewards  and  deputies  are 
now  functioning  at  all  the  units 
within  the  group.  This  issue  has 
helped  build  up  the  morale  of  the 


General  Secretary  reported  that 
he  had  seen  the  management  and 
it  appeared  to  him  that  the  main 
interest  in  processing  in  Great 
Britain  was  to  get  British  quota 
for  television.  No  A.C.T.T.  mem- 
bers were  employed  on  the  produc- 
tion and  one  of  those  associated 
with  it  was  an  individual  whom 
the  General  Council  had  instructed 
A.C.T.T.  members  not  to  work 
with.  He  had  therefore  told  the 
management  that  we  would 
oppose  their  activities,  unless  they 
complied  fully  with  our  agree- 
ments and  with  the  understand- 
ing reached  with  the  I.T.A.  in  re- 
lation to  the  employment  of 
United  Kingdom  personnel  on  such 
films.  The         company         then 

threatened  to  take  the  processing 
back  to  the  United  States.  The 
General  Secretary  recommended 
that  no  attempt  should  be  made 
to  accommodate  the  company  and 
the   Council  endorsed  this. 


COUNCIL:  The  appointment  of 
members  of  the  Cinematograph 
Films  Council  expired  on  Septem- 
ber 30th,  and  the  General  Secre- 
tary has  been  invited  by  the  Pre- 
sident of  the  Board  of"  Trade  to 
continue  to  serve  as  one  of  the 
representatives  of  the  employees 
for  a  further  three  years. 

November  1957 




agreed  to  nominate  the  following 
as  delegates  to  this  Conference 
due  to  be  held  on  Saturday  and 
Sunday,  March  1st  and  2nd,  1958: 
Fred  Tonge,  Len  Runkel,  George 
Irons,   Dudley  Birch,   Ken  Gordon. 

CIATION: An  invitation  had  been 
received  to  send  delegates  to  a 
Public  Meeting  in  connection  with 
the  testing  of  Hydrogen  Bombs 
called  by  this  Association,  and 
Bernie  Lewis  and  John  George 
were  appointed  delegates. 


The  General  Secretary  reported  on 
a  meeting  of  the  N.F.P.W.  Execu- 
tive Committee  at  which  the  appli- 
cation for  affiliation  from  the 
Association  of  Broadcasting  Staffs 
had  been  considered.  He  and  Alf 
Cooper  had  attended  and  had  very 
forcibly  put  the  case  why  the 
A.B.S.  should  not  be  accepted  into 
membership.  In  addition  to  the 
support  already  obtained  from 
N.A.T.K.E.,   they  also   received  ex- 

cellent support  from  other  Union 
officials,  particularly  the  Guild  of 
Insurance  Officials,  A.S.S.E.T.  and 
the  Institute  of  Professional  Civil 

A  resolution  was  moved  pro- 
posing to  defer  a  decision  for  a 
month  pending  consultation  by  the 
officers  with  the  Unions  directly 
concerned.  The  General  Secretary 
moved  an  amendment  to  reject 
the  application  and  inform  the 
A.B.S.  that  it  would  be  recon- 
sidered as  and  when  they  had 
straightened  out  their  differences 
with  affiliated  unions.  The  amend- 
ment was  carried  by  12  votes  to  11 
and  carried  as  a  substantive 
motion  by  13  votes  to  6.  The 
Executive  congratulated  the  dele- 
gates on  the  manner  in  which  they 
had  handled  the   situation. 

PALACE:  Bessie  Bond  attended  a 
meeting  of  our  members  at  this 
unit,  as  they  expressed  the  wish  to 
set  up  their  own  organisation.  A 
Shop  Steward  was  elected 
(Michael  Roberts),  a  small  com- 
mittee representing  engineering 
and  production  was  set  up  and  a 
collector  was  appointed. 

WOOD:  Reports  were  given  by 
Organiser  Fred  Tonge  and  the 
Pinewood  Shop  Steward  regarding 
arrangements  made  with  the 
Management  at  Pinewood  and  the 
attitude  of  members.  After  dis- 
cussion, it  was  agreed  that  any 
further  night  work  shall  be  done 
strictly  in  accordance  with  the 
B.F.P.A.    Agreement. 


The  General  Secretary  reported  a 
meeting  of  the  Committee  arising 
out  of  N.A.T.K.E.'s  claim  to 
organise  certain  of  the  grades  in- 
cluded in  the  new  Television 
Agreement.  N.A.T.K.E.  had  now 
withdrawn  their  claim  to  some  of 
the  grades  and  on  others  they 
recognised  that  our  claim  was  ten- 
able. However,  the  grade  of  Tele- 
cine  Operators  was  still  in  dis- 
pute. The  Inter-Union  Committee 
agreed  that  both  N.A.T.K.E.  and 
A.C.T.T.  should  prepare  written 
statements  outlining  their  reasons 
for  claiming  the  grade  for  sub- 
mission to  the  E.T.U.,  who  were 
responsible  for  convening  Inter- 
Union  Committee  meetings,  and 
there  would  be  a  further  meeting. 
A.C.T.T. 's  claim  had  been  pre- 
pared and  submitted. 

Just  published 


Written  in  collaboration  with  a  special  committee  set  up  by  the  British  Film  Academy  for  all 
those  interested  in  films  or  music  as  well  as  the  professional  music-maker.  It  covers  documentary, 
experimental  and  cartoon  films  as  well  as  features,  describes  recording  procedure  and  the  function 
of  the  music  director.  Illustrated  by  extracts  from  important  films.  Includes  an  index  of  British 
and  American  recordings  of  film  music. 

Cloth  bound  Size%\"x5V  304  pages  150  illustrations 

PRICE  42/- 

To  be  published  Mid-November 



Intended  primarily  for  the  professional  make-up  artist,  this  book  will  be  found  invaluable  by  the 
amateur  for  its  practical  advice,  new  ideas  and  information  on  products,  both  British  and 
American.   Make-up  for  the  stage  is  also  covered  and  for  photographic  illustration,  with  details 
of  the  making  of  prosthetics. 
Cloth  bound  Size  8 J"  X  5 \"  264  pages  280  illustrations 

PRICE  42/- 





November  1957 



well-known  British  producers, 
though  his  film  career  was  fairly 
short.  Paul  was  the  first  to  bring 
kinematography  into  the  commer- 
cial field,  his  show  at  Olympia  in 
March  1896  being  the  first  given 
by  an  Englishman  at  which  ad- 
mission was  charged. 

Alexander  Parkes,  of  Birming- 
ham, invented  celluloid  in  1854. 
Later,  the  Rev.  Hannibal  Goodwin 
patented  celluloid  film  in  ribbon 

John  Logie  Baird  pioneered  tele- 
vision in  Britain;  the  first  demon- 
stration of  televising  moving 
pictures,  which  showed  detail 
(rather  than  being  just  .'il- 
houettes),  was  given  by  Baird  on 
January  27th,  1926,  in  a  room  in 
Frith  Street  (now  occupied  by 
Bianchi's  restaurant). 

John     Arthur     Roebuck     Rudge 

worked  with  Friese-Greene  in  Bath 
and  about  1866  made  a  magic 
lantern,  which  he  called  the  Bio- 
phantoscope,  with  seven  glass 
slides,  each  showing  one  stage  in 
a  movement;  although  this  revolv- 
ing "  lantern  of  life "  did  not 
actually  make  moving  pictures,  it 
was  one  of  their  forerunners,  and 
helped   Friese-Greene  in  his  work. 

On  Location 

Camera    Crew    and    Continuity    working    on    A.B.I'.C.'s 
summit    of    the    Jungfrau.      Lighting    cameraman 

•  High    Hell  ' 
is    Jimmy    W 

near    the 

Shorts  &  Documentary 


needs  his  assistance  to  get  her  a 
pail  of  water. 

High  Speed  Flight  was  intro- 
duced by  Peter  de  Normanvillc, 
who  explained  how  and  why  the 
film,  which  is  for  specialised  audi- 
ences, such  as  flying  personnel, 
came  to  be  made. 

The  film  was  an  excellent  one, 
in  Eastmancolor.  Direction  and 
photography  were  very  good.  But, 
like  many  in  the  audience,  1  am 
afraid  it  was  much  too  technical 
in  "  aeronautical  parlance  "  for  me 
to  understand  its  full  significance. 
There  was  very  little  in  the  way 
of  discussion,  except  for  a  few 
points  on  camera  work. 


1957  ARRIFLEX  Model  2A  with 
Cooke  Series  2  lenses.  Available 
as  mute  camera  or  with  full  BLIMP 

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November  1957 



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November  1957 

interviews    E  R  W I  N         I L  L I  E  R 

Director  of  Photography  CHASE  A  CROOKED  SHADOW 

An    ASSOCIATED    DRAQO.V    FILM    LTD.    production    for     ASSOCIATED     BRITISH     l'ATHE    LTD.     RELEASE 

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December  1957 



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Candidates  must  have  had  at  least 
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December  1957 



FILM    &    TV    TECHNICIAN  _ 


rpHE'  Government,  it  is  now  be- 
-^  coming  increasingly  clear,  is 
hell-bent  for  war  on  the  Trade 

Recent  facts  speak  for  them- 
selves and  their  meaning  should  be 
clearly  grasped  by  every  trade 
unionist  in  the  country,  whatever 
his  personal  political  outlook  may 
be.  Take  the  question  of  the 
Health  Employees,  for  instance. 
Representatives  of  both  sides  on 
the  Whitley  Council  agreed  on  an 
increase  of  3%  for  those  below  a 
certain  salary.  The  Minister  of 
Health,  presumably  with  the  full 
backing  of  his  colleagues  in  the 
Government,  refused  to  operate 
this  properly  negotiated  decision. 
By  this  action  alone  the  Govern- 
ment has  thrown,  and  deliberately 
thrown,  the  largest  size  spanner  in 
the  whole  national  machinery  of 
negotiation.  Without  a  declaration 
of  war  it  has  perpetrated  an  act 
of  war. 

But  that  is  not  all.  The  Chancel- 
lor of  the  Exchequer,  speaking  in 
the  recent  economic  debate  in  the 
House  of  Commons,  had  this  to 
say  : 

"  Wages  increases  unrelated  to, 
and  going  far  beyond,  the  general 
growth  of  real  wealth  within  the 
country  are  by  far  the  greatest 
danger  we  have  to  face,  and  we 
should  be  deceiving  ourselves  if 
we  pretended  otherwise.  Those  who 
ask  for  wage  increases,  those  who 
grant  wage  increases,  and  those 
who  adjudicate  about  wages  should 
have  this  fact  firmly  in  the  fore- 
front of  their  minds." 

What  the  Government,  through 
the  Chancellor  of  the  Exchequer,  is 
in  fact  saying,  is  this  :  "  If  you  are 
a  wage  earner  do  not  ask  for  any 
more  money.  If  you  insist  on  ask- 
ing, we  shall  do  everything  in  our 
power  to  see  that  your  employer 
does  not  give  it  to  you,  even  though 
he  may  recognise  the  justice  of 
your  claim  and  be  willing  to  in- 
crease your  pay.  Of  course,  you 
are  perfectly  free  to  take  the 
matter  to  arbitration.  Do  so,  by  all 
means.  We  shall  warn  the  arbi- 
trators to  find  against  you,  and  if 
they  ignore  our  warning  we  shall 
refuse  to  implement  their  findings 
and  we  shall  do  everything  possible 

to  see  that  'independent'  employers 
do  the  same." 

The  Government  was  not  slow  to 
implement  this  attitude  in  the  case 
of  the  railwaymen. 

Clearly,  in  the  light  of  all  this,  it 
would  be  a  pathetically  trusting 
trade  unionist  who  could  go  before 
any  arbitration  tribunal  on  a  ques- 
tion of  wages  with  any  confidence 
in  receiving  an  impartial  finding. 



The   Annual   General   Meeting 

will     be     held     on     Saturday, 

March       8th       and       Sunday, 

March    9th,    1958,    at    the* 

T.U.C.   Memorial  Buildings, 

23-28  Great  Russell  Street, 

London,  W.C.2 


All    resolutions    and    nomina- 
tions    must     be     received     at 
Head   Office 
FRIDAY,    DECEMBER    27th, 

Tribunals  in  the  past,  though 
they  have  perhaps  not  been  en- 
tirely free  from  prejudice  on  all 
occasions,  have  at  least  served  as 
reasonably  impartial  bodies,  and  in 
doing  so  they  have  been  a  valuable 
element  in  preventing  unnecessary 
industrial  warfare.  That  they  can 
no  longer  perform  this  service  is  a 
matter  of  the  Government's  seek- 
ing. It  seems  that  they  would 
prefer  open  war  to  peaceful  nego- 
tiation. Trade  Unionists  every- 
where will  note  the  Government's 

The  war  against  higher  wages 
and  the  spanner  in  the  machinery 
of  negotiation  are  two  aspects  of 
a  policy  that  is  bound  to  have  very 
grave  consequences.  But  this  is 
not  all.  The  Chancellor  of  the  Ex- 
chequer attacked  "  wage  increases 
going  far  beyond  the  general 
growth  of  real  wealth  ".  This  gen- 
eral growth  of  real  wealth,  on 
which  the  well-being  of  the  country 
as  a  whole  depends,  demands  the 
maximum  of  productivity  together 

with  full  employment,  yet  the 
Government  has  instituted  financial 
policies  which  by  discouraging  in- 
vestment are  bound  to  curb  rather 
than  foster  the  expansion  of  in- 
dustry, and  to  lead  to  unemploy- 
ment rather  than  full  employment. 

As  the  T.U.C.  Economic  Com- 
mittee has  pointed  out,  the  Govern- 
ment's financial  measures  have  led 
to  a  position  in  which  the  right  to 
work  is  no  longer  acknowledged  as 
a  social  and  economic  priority. 

The  results  of  such  a  policy  may 
bring  disaster,  and,  of  course,  there 
will  be  an  attempt  to  pass  the 
blame  to  the  Unions  if  and  when 
it  comes. 

What  we  have  written  above 
applies  to  the  industrial  field  as  a 
whole,  but  members  of  A.C.T.T. 
will  not  have  forgotten  that  we 
ourselves  have  some  claims  pend- 
ing on  behalf  of  our  members. 
There  will,  for  instance,  be  a  claim 
going  shortly  to  the  Laboratory 
employers,  and  we  have  no  inten- 
tion of  being  put  off  with  a  refusal 
based  on  the  Chancellor  of  the 
Exchequer's  statement  which  we 
quoted  above. 

Then,  again,  there  are  to  be 
approaches  to  the  A.S.F.P.  for  a 
consolidation  of  the  cost  of  living 

We  feel  it  necessary  to  make  one 
thing  crystal  clear.  While  the  cost 
of  living  continues  to  rise  there 
will  be  wage  claims  from  various 
sections  of  the  industry,  but  we  do 
not  accept  the  cost  of  living  and 
productivity  as  the  sole  determin- 
ants of  wages.  As  long  as  the 
employers  are  entitled  to  operate 
for  their  own  profit  workers  in  the 
industry  are  equally  entitled  to  a 
fair  and  reasonable  share  of  the 



Editorial  Office: 
2  Soho  Square,  W.l 

Telephone:     GERrard   8506 

Advertisement    Office: 

5  and  6  Red  Lion  Sq.,  W.C.I 

Telephone:    HOLborn  4972 



December  1957 


THE  first  shots  are  being  fired  on  the  future  of  television.  It  is  soon 
*  enough,  but  not  too  soon,  for  the  B.B.C.  Charter  expires  in  1962  and 
the  Charter  of  the  I.T.A.  in  1964.  That  sounds  a  long  way  off  but  the 
almost  certain  Royal  Commission,  and  drafting  and  debating  the  legisla- 
tion which  have  to  precede  the  new  patterns  will  between  them  occupy  a 
considerable  amount  of  time.  Organisations  directly  and  keenly  con- 
cerned, which  of  course  include  A.C.T.T.,  should  therefore  soon  start 
giving  thought  to  what  their  policies  will  be. 

One  thing  is  certain.  Policies 
which  may  have  been  right  at  the 
time  when  the  introduction  of  com- 
mercial television  was  being  de- 
bated are  now  in  many  respects 
out  of  date.  The  B.B.C.'s  monopoly 
has  been  broken  and  there  will  be 
few  advocates  of  its  restoration. 
Competitive  television  in  some  form 
or  another  is  here  to  stay. 

Let  us  consider  some  recent  pro- 
nouncements. First,  Gerald  Beadle, 
Director  of  B.B.C.  Television 
Broadcasting,  speaking  at  a  Radio 
Industries  Club  luncheon  on  30th 
October  said  that  the  function  of 
the  B.B.C.  Television  service  would 
be  so  different  from  that  of  com- 
mercial television  in  the  future 
that  only  in  the  most  superficial 
sense  would  they  be  regarded  as 

Educated  Democracy 

It  would  be  a  mistake,  Mr. 
Beadle  said,  to  expect  commercial 
television  to  be  "  a  reflection  of 
the  advancing  tastes  and  aspira- 
tions, or  of  the  perplexities,  of  an 
educated  democracy  in  the  mak- 
ing." Its  programmes,  he  implied, 
were  to  cater  for  the  mass  audi- 
ence while,  on  the  other  hand,  the 
B.B.C.  did  not  have  to  sell  their 
product  to  anyone  and  could  con- 
centrate on  audiences  in  the 
plural.  Mr.  Beadle  continued  :  "We 
measure  our  successes  and  failures 
to  a  large  extent  by  whether  or 
not  we  achieve  the  appropriate 
audience  for  each  programme." 
The  B.B.C,  he  said,  would  devote 
itself  to  a  modern,  up-to-date 
channel  devoted  to  satisfying  the 
requirements  of  an  educated 

In  other  words,  it  seemed  that 
Mr.  Beadle  was  saying  that  com- 
mercial television  could  concen- 
trate on  broad,  popular  entertain- 
ment for  the  masses,  bringing  the 
advertiser  in  touch  with  the  large 
audience  essential  for  effective 
sales  promotion,  while  the  B.B.C. 
would  reflect  the  British  way  of 
life  at  its  best,  with  particular  pro- 
ej  amines  to  appeal  to  particular 

This  at  once  brought  a  broadside 

By  the 


from  Sidney  Bernstein,  who  says 
that  when  it  comes  to  quality 
Granada  will  match  the  B.B.C. 
production  for  production.  He  will 
have  nothing  of  Mr.  Beadle's  blast 
about  I.T.V.'s  role  as  entertainer 
to  the  lowest  common  denominator. 
Herbert  Morrison,  M.P.,  former 
Home  Secretary,  in  a  speech  on 
9th  November  hit  another  angle. 
He  attacked  commercial  television 
as  "  wholly  inflationary  ",  and 
THE  observer  reported  him  the 
next  day  as  saying  : 

"  Commercial  television  has 
duplicated  capital  costs  in  a  field 
where  technical  labour  supply  is 
not  plentiful.  It  is  lowering  our 
standards  and  facing  the  B.B.C. 
with  rt  dilemma  as  to  whether  it 
should  depreciate  its  own  stan- 
dards or  face  the  possibility  of 
lessening  its  number  of  viewers. 
"  The  Television  Act  was  a  bad 
departure  from  television  as  a 
public  service  as  compared  with 
television  chasing  'circulation' 
irrespective  of  standards  and 

Wedgwood   Benn 

Finally,  we  come  to  Anthony 
Wedgwood  Benn,  M.P.,  who  writes 
a  thoughtful  article  in  the  socialist 
digest  for  November.  He  puts  for- 
ward a  proposal  that  the  whole  of 
Britain's  radio  and  television  ser- 
vices should  be  run  by  four  public 
corporations,  all  having  a  share  in 
the  licence  fee  and  allowed  to 
accept  advertising.  He  wants  the 
new  public  service  based  on  four 
principles  : 

1.  The  continued  expansion  of  tht 
TV  s(  rvice. 

2.  The  continuation  oj  full  public 
control  oj  all  technical  until*  is. 
through  tin   Postmaster  General. 


3.  The  maintenance  of  an  element 

of  public  service  in  the  operation 
of  all  stations. 

4.  The  maximum  of  competition  in 
order  to  maintain  the  integrity 
and  creativeness  of  programmt 
staff  and  the  best  choice  for  tin 
viewer  and  listener. 

His  four  public  corporations 
would  be  as  follows  :  First,  the 
B.B.C,  which  would  broadcast  two 
basic  national  programmes  in 
sound  only,  rather  like  the  Home 
Service  and  the  Third  Programme. 
This  should  be  able  to  be  picked  up 
all  over  the  country.  The  B.B.C 
would  also  handle  all  overseas 
broadcasting  as  it  now  does. 

New  Corporation 

Secondly,  there  should  be  a 
new  corporation  established  called 
the  "  Independent  Broadcasting 
Authority"  (I.B.A.),  which  would 
take  over  the  Light  Programme  as 
a  second  competitive  national  pro- 
gramme. It  would  also  be  respon- 
sible for  technical  co-operation 
with  the  regions.  The  regions 
would  be  completely  autonomous 
and  free  to  make  their  own  net- 
work arrangements.  Local  V.H.F. 
broadcasting  would  also  be  stimu- 
lated by  the  regions. 

Thirdly,  B.B.C.  television  should 
be  hived  off  as  the  British  Tele- 
vision Corporation  (B.T.C).  This 
would  broadcast  one  or  more 
national  programmes  and  would  be 
responsible  for  foreign  links,  like 
Eurovision.  It  would  be  completely 

Finally,  the  I.T.A.  would  be 
strengthened  and  given  the  right 
to  produce  its  own  programmes.  It 
would  also  be  given  a  greater 
authority  over  the  programme 
companies.  The  exact  nature  of 
this  relationship  would  be  left  open 
for  negotiation. 

There  is  one  further  point,  men- 
tioned by  none  of  the  foregoing 
protagonists  but  which  deeply  con- 
cerns us  as  Trade  Unionists.  The 
B.B.C,  despite  the  terms  of  its 
Charter  and  despite  recommenda- 
tions of  the  Beveridge  Report,  re- 
mains one  of  the  most  reactionary 
and  impossible  of  employers.  Com- 
mercial Television,  on  the  other 
hand,   albeit   after   some    pressure, 

(continued  on  page  16s) 

December  1957 



Talking  Points 



IT  is  about  time  we  stopped  let- 
ting people  kid  us  that  films  and 
television  are  basically  different 
and  opposed  to  one  another.  True, 
I  have  yet  to  see  a  cinema  adver- 
tisement urging  patrons  to  watch 
a  particular  TV  programme 
(though  I  expect  that  will  come), 
but  I  should  like  to  commend  some 
fascinating  work  done  by  young 
Theo  Richmond,*  which  indicates 
that  a  large  section  of  cinema- 
goers  are  induced  into  the  pictures 
by  publicity  on  TV,  both  BBC  and 

A  Contradiction 

Richmond  is  what  may  at  first 
sound  like  a  contradiction  in  terms, 
for  he  is  a  film  publicity  director 
and  a  scientist,  and  the  Boulting 
Brothers,  who  employ  him,  have 
just  published  his  enquiry  into 
what  made  people  queue  up  to  see 
Brothers  In  Law  in  the  London 
general  release  area. 

Six  out  of  ten  who  went  to  see 
this  comedy  also  watch  TV,  but 
half  of  them  only  do  so  less  than 
three  evenings  a  week.  Just  the 
same,  the  TV  programmes,  which 
featured  something  about  Brothers 
In  Law,  were  so  effective  that  209f 
of  those  interviewed  gave  TV  as 
their  reason  for  going  to  see  the 

Actually,  the  main  reason  given 
by  those  in  the  queues  was  the  cast 

of  this  amusing  British  film  (over 
30r/c  of  those  quizzed  gave  this 
reason  for  going  to  the  pictures 
that   day),   but   here,   again,    I   feel 

*  "  The  Answer  in  the  Q." 

General  Secretary 


has  faced  up  to  its  responsibilities 
in  recognising  and  negotiating  pro- 
per agreements  with  the  appro- 
priate Trade  Unions.  Whatever 
finally  emerges  as  the  new  pattern 
we  shall  insist  that  the  I.T.V.  stan- 
dards and  not  the  archaic  ones  of 
the  B.B.C.  shall  continue  to  apply 
to  those  who  create,  produce  and 
transmit  the  programmes. 

The  four  persons  I  have  men- 
tioned have  started  us  thinking. 
A.C.T.T.  must  before  long  get 
down  to  formulating  its  own  policy. 
Maybe  we  should  look  carefully  at 
the  pronouncements  I  have  cited 
for  a  start. 

that  TV  must  be  reckoned,  together 
with  the  other  means  of  publicity, 
to  have  had  its  effect,  as  most  of 
the  programmes  featured  one  or 
more  of  the  stars.  It  is  significant 
that  all  the  TV  publicity  was  in 
entertainment  programmes — seven 
of  them  from  the  BBC — and  no 
commercials  were  telecast  for  the 
picture.  I  hope  John  and  Roy 
Boulting  and  their  far-sighted  pub- 
licist Theo  Richmond  will  carry 
out  a  similar  survey  with  Lucky 
Jim  (in  my  opinion  a  better  piece 
of  filmcraft  than  Private's  Pro- 
gress or  Brothers  In  Law),  for 
which  15-second  commercials  have 
also  been  put  on  the  air. 

No  hasty  conclusions  can  be 
drawn  from  the  present  enquiry — 
and  Richmond  is  careful  to  point 
out  the  limitations  in  this  case — 
but  I  commend  it  to  the  monolithi- 
cally-minded  moguls  of  the  Cine- 
matograph Exhibitors'  Association, 
who  have  been  trying  to  stop  Eal- 
ing Films  from  selling  some  of 
their  old  comedies  to  a  commercial 
TV  contractor  in  the  mistaken  be- 
lief that  this  will  ruin  the  cinemas. 

Can't  the  CEA  see  that  one  of 
the  means  of  financing  the  large- 
scale  productions,  which  are  so 
necessary  for  their  survival,  is  for 
producers  to  give  old  films  a  new 
lease  of  life  and  so  get  a  new 
source  of  revenue  from  the  pro- 
duct-hungry medium  of  TV? 

In  an  era  when  a  number  of 
talented  film-makers  are  debasing 
themselves  —  and  insulting  their 
audiences — with  horror  and  other 
X  certificate  films,  it  is  refreshing 
to  come  across  influential  enter- 
tainers strongly  condemning  such 
catch-penny  tactics.  In  a  fine 
obituary  to  Louis  B.  Mayer  the 
London  Evening  News  wrote: 

"  He  detested  the  brutality  that 
has  entered  pictures  in  the  last 
decade.    It  made  him  unhappy 
that  the  public  seemed  to  want 
I    wonder    whether    the     public 
really  wants  it.    Anyway,  now  here 
is  Sam  Wanamaker,  in  introducing 
his      New      Shakespeare      cinema- 
theatre-club-concert-hall   in   Liver- 
pool, saying  he  will  not  show  films 
of   violence,    horror,    science-fiction 
and  exaggerated  sex,  nor  produc- 
tions glorifying  war.    Bravo !     But 
Wanamaker  then   goes  and   spoils 
it  by  banning  the  sale  of  confec- 
tionery in  the  auditorium.  Why  put 
films  that  emphasise  the  unnatural 
side  of  life  in  the  same  category  as 
the  very  natural,  harmless  desire  to 
have  a  bite  to  eat  or  a  refreshing 

Spoil  Sports 

A  similar  ban  mars  the  excellent 
National  Film  Theatre  in  London. 
I  wonder  if  these  spoil-sports 
understand  the  traditional  likes  of 
British  audiences.  John  Hollings- 
head,  one-time  manager  of  the 
Gaiety  Theatre,  described  the 
habits  of  the  gallery  at  the  Old 
Vic  about  1838,  which  consisted  of 

"  perspiring  creatures ;  most 
of  the  men  in  shirt-sleeves, 
and  most  of  the  women  bare- 
headed, with  coloured  handker- 
chiefs round  their  shoulders. 
.  .  .  This  '  chickaleary '  was 
always  thirsty  —  and  not 
ashamed.  It  tied  handkerchiefs 
together — of  which  it  always 
seemed  to  have  plenty — until 
they  formed  a  rope,  which  was 
used  to  haul  up  large  stone 
bottles  of  beer  from  the  pit, 
and  occasionally  hats  that  had 
had  been  dropped  below." 

But  I  must  not  leave  the  National 
Film  Theatre  on  a  sour  note,  be- 
cause through  their  showing  the 
East  German  picture  Duped  Till 
Doomsday  during  the  recent  Lon- 
don Film  Festival,  I  spent  many 
pleasant  hours  with  its  director 
Kurt  Jung-Alsen,  who  flew  over 
specially  from  Berlin. 

We  discussed  at  length  the  ever- 
present  problem  of  where  to  And 
good  screen-writers — the  acuteness 
of  this  problem  in  East  Germany 

(continued  on  page  166) 



December  1957 

'Take  Our  Rice 


Little  do  the  members  of  the 
great  viewing  public  realise  the 
blood,  toil,  tears  and  sweat  which 
have  gone  into  the  production  of 
the  packshot  they  briefly  glanced 
at,  while  gulping  down  their  tea  and 
sandwiches  before  the  play  they 
are  waiting  to  see  is  due  on  the 
screen.  The  luscious  packs  of 
chocolates,  biscuits,  cakes,  cigar- 
ettes, etc.,  which  click  on  in  casual 
perfection,  in  no  way  betray  the 
days  of  drama  that  have  gone 
before  in  order  to  get  them  that 

Take  our  rice  pudding  for  in- 

Our  studio  had  been  com- 
missioned to  do  a  series  of  films 
advertising  a  certain  brand  of  this 
nourishing  food.  Following  the 
cartoon  action  was  to  appear  a 
sizzling  pyrex  dish  of  the  most 
tempting  rice  pudding  man  has 
ever  seen  before  or  since. 

Our  director's  wife  kindly  brewed 
uj)  the  pudding  in  her  oven,  and 
the  director,  with  his  own  hands, 
bore  the  result  to  the  studio  next 
morning  for  shooting.  Once  under 
the  lights,  though,  the  thing 
seemed  to  pale,  as  does  the  com- 
plexion of  the  healthiest  actress 
when   under  the  unflattering  glare 

of  the  arc  lamps.    A  little  make-up 
was  obviously  needed. 

They  dusted  the  surface  tenderly 
with  a  little  Shell  lubricating  oil 
and    left    it    during    tea-break    to 

...  a  little  lubricating  oil 

brown  under  a  powerful  bulb. 
Even  the  best  cooks  are  apt  to 
mistime  their  confections  and  when 
the  model  cameraman  hurried  back 
to  his  work  he  found  his  charge 
suffering  from  acute  sunburn. 

There  was  nothing  for  it  but  to 
make  another  pudd. 


i  continued) 

is  made  more  urgent  by  the  Gov- 
ernment's desire  to  double  produc- 
tion to  some  sixty  films  a  year. 
One  must  admire  the  boldness  of 
their  producers  in  not  taking  well- 
tried  subjects  from  novels,  from 
the  theatre  or  from  other  enter- 
tainment media,  but  in  making  a 
major  proportion  of  pictures  from 
original  screen  stories — Hcrr  Jung- 
Alsen  estimated  about  90r;  were 
specially  written  for  filming. 

Kurt  Jung-Alsen  talked  of  the 
successful  surmounting  of  many, 
but  not  all,  of  the  problems  that 
faced  the  film  business  In  the 
German  Democratic  Republic  after 
the  war,  which  appeared  to  me  to 
be  epitomised  in  the  startling 
economic  achievement  of  now  be- 

coming self-supporting.  There  used 
to  be  a  Government  subsidy  for 
producers,  but  now  box-office 
takings  from  home-produced  and 
foreign  pictures  pay  for  the  thirty 
features  East  Germany  makes  an- 
nually. With  their  own  films  as  a 
basis  they  exchange  them  on  a 
film-for-film  arrangement  with 
other  countries,  so  building  up  a 
rich  variety  of  international  screen 
entertainment  for  the  eighteen 
million  inhabitants  of  his  half  of 

With  a  population  three  tunes 
that  size  this  gives  us  hope  that 
we  should  be  able  to  put  our  own 
industry  on  a  healthily  sound 
basis,  but  before  then  we  shall 
need  a  Declaration  of  Independence 
— from  America,  ami  a  few  other 
of  our  bonds  will  have  to  be 
broken ! 

By  this  time  the  director's  wife 
was  showing  a  tendency  to  display 
her  emancipation  rights,  when 
instead  of  a  reply  of  '  yes.  thank 
you '  to  her  query  '  Had  a  good 
day  at  the  studio,  dear?  '  she 
heard:  'Just  make  another  rice 
pudding  this  evening,  would  you  ?  ' 

So  the  stills  photographer's 
mother  took  over  the  job.  Still  it 
didn't  look  quite  as  a  rice  pudding 
should  to  the  aesthetic  gaze  of  the 

'  Rip  the  skin  off  ',  he  demanded, 
'  it  doesn't  look  anything  like  a 
rice  pudding  skin.' 

'  But  it  is  a  rice  pudding  skin  ', 
said  a  voice  daringly.  The  owner 
was  quelled   by  a  terrible  glance. 

'  Rip  the  skin  off  and  take  it  over 
to  the  snack  bar  for  re-browning.' 
With  the  sigh  of  a  frustrated 
artist,  the  stills  photographer  did 
as  he  was  bidden. 

The  snack  bar  was  clever  at 
dishing  out  steak  and  two  veg.  at 
cut  price,  but  when  it  came  to 
re-browning   rice   puddings —     — . 

The  charred  remains  were 
mournfully  deposited  in  the  dust- 
bin, and  the  quest  for  the  director's 
ideal  began  all  over  again. 

Tension  ran  high.  By  the  time 
the  eighth  creation,  looking  more 
or  less  like  a  rice  pudding  in  a 
pyrex  dish,  was  ready  for  shoot- 
ing, nobody  was  speaking  to  any- 
body   else    much.       When,     during 


.  .   .   rip  that  skin  off 

afternoon  tea-break,  someone  said 
jokingly  to  somebody  else:  '  Rice 
puddings  to  you',  the  look  he  re- 
ceived froze  him  to  the  marrow. 
Usually  he  is  a  gentle,  kindly  man. 

Still,  it  is  always  darkest  before 
the  light,  as  some  old  bore  of  a 
philosopher  said,  and  sure  enough 
the  eighth  pudding  was  a  success. 
I  expected  a  great  shout  to  go  up. 
the  sort  people  give  when  their 
horse  is  first  past  the  winning  post, 
but  no.  They  all  just  quietly  went 
home  to  supper.  I  know  what  they 
were  thinking,  though:  'If  it's  rice 
pudding  for  afters   I'll  — .' 




December  1957 

Guide  to  British  Film 


Year  of  Production :    1956. 

Studio:    Location  Aldershot. 

Laboratory:    Olympic. 

Producing  Company:  Hammer  Film 

Producer:    Michael  Carreras. 

Associate  Producer:  Anthony  Nelson 

Stars:  Leo  Genn,  Kieron  Moore, 
Michael  Medwin. 

Director:    Michael  Carreras. 

Scenarist:    Howard  Clewes. 

Camera  Department:  Lighting  Camera- 
man, Jack  Asher;  Camera  Operator, 
Len  Harris ;  1st  Camera  Assistant 
(Focus),  Harry  Oakes;  Other  Camera 
Assistants,  Peter  Tabori,  Stanley 
Evans,  John  Foley;  Second  Cameia 
Operator,   Gerald   Moss. 

Sound  Department :  Recordist  (Mixer), 
Cliff  Sandall ;  Sound  Camera  Opera- 
tor, Walter  Day;  Boom  Operator, 
Charles  Harris;  Dubbing  Crew,  Anvil 

Art  Department:  Art  Director,  Ted 
Marshall;  Draughtsman,  Don  Mingay; 
Dress  Designer,  Molly  Arbuthnot. 

Editing  Department:  Editor,  Bill 
Lenny;  1st  Assistant,  John  Beaton; 
Other  Assistant,  Max  Wheeler;  Dub- 
bing Editor,  A.   E.   Cox. 

Production  Department:  Production 
Manager  and/or  Unit  Production 
Manager,  John  Workman ;  1st  Assis- 
tant Director,  Don  Weeks;  2nd  Assis- 
tant Director,  Stanley  Gouler;  3rd 
Assistant  Director.  Hugh  Harlow; 
Continuity,  Rene  Glynne;  Production 
Secretary,  Faith  Frisby. 

Publicity  Department:  Publicity  Direc- 
tor, Bill  Batchelor. 

Stills  Department:  Still  Cameraman, 
John  Jay. 

Special  Processes:  Frank  George,  Syd 
Pearson;   Special  Effects,  Pinewood. 


Year  of  Production:    1956. 

Studio:    Beaconstield  Films  Ltd. 

Laboratory:    Humphries. 

Producing  Company:  Beaconsfield  Films 

Producer:    Peter  Rogers. 

Stars:  Robert  Beatty,  Lee  Patterson. 
Betty  McDowall. 

Director:    Gerald  Thomas. 

Scenarist:    Peter  Rogers. 

Camera  Department:  Lighting  Camera- 
man, Peter  Hennessy;  Camera  Opera- 
tor, Zeo  Rogers;  1st  Camera  Assistant 
(Focus),  Paddy  A'Hearne;  Other 
Camera  Assistant,  Philip  Finch. 

Sound  Department:  Recordist  (Mixer). 
Len  Page ;  Sound  Camera  Operator, 
George  Rice:  Boom  Operator,  Don 
Roberts;  Other  Assistant  (Mainten- 
ance), Frank  Sloggett ;  Dubbing  Crew, 
Anvil  Films  Ltd. 

Art  Department:  Art  Director,  Norman 
Arnold;  Draughtsman,  Eric  Saw. 

Editing  Department:  Editor,  John 
Trumper;  1st  Assistant,  Alan  Bell; 
Other  Assistant,  Raymond  Lovejov. 

Production  Department:  Production 
Manager,  John  'Pinky'  Green;  1st 
Assistant  Director,  Bob  Jones;  2nd 
Assistant  Director.  Jan  Saunders; 
Continuity.  Rita  Davison:  Production 
Secretary,  Pauline  Chessell. 

Publicity  Department:  Publicity  Direc- 
tor. Leslie  Frewin  Organisation. 

Stills  Department:  Still  Cameraman. 
Tom  Belshaw. 



Year  of  Production  :    1956. 

Studio:    Southall  Studios. 

Laboratory:    Olympic. 

Producing  Company:    Delta  Films  Ltd. 

Producer:    Francis  A.  Searle. 

Stars:  Pat  O'Brien.  Lois  Maxwell, 
Freddie  Mills,  George  Colouris, 
Tommy  Steele. 

Director:    Terence  Fisher. 

Camera  Department:  Lighting  Camera- 
man, Geoffrey  Faithfull;  Camera 
Operator,  Desmond  Davis;  1st  Camera 
Assistant   (Focus),   Mani  Wynn. 

Sound  Department:  Recordist  (Mixer), 
Richard  Smith;  Sound  Camera  Opera- 
tor, Stanley  Samworth:  Boom  Opera- 
tor, Anthony  Field. 

Art  Department:  Art  Director;  Bern- 
ard Robinson;  Draughtsman,  David 

Editing  Department:  Editor,  Ann 
Chegwidden;  Assembly  Cutter,  P. 

Production  Department:  Production 
Manager,  Tom  Connochie;  1st  Assis- 
tant Director,  Chris  Noble;  Con- 
tinuity, Margery  Lavelly;  Production 
Secretary,  Pat  Moon. 

Stills  Depart  merit:  Still  Cameraman. 
Frank  Bellingham. 


Year  of  Production :    1956. 

Studio:    Danziger  Studios. 

Laboratory:    Olympic. 

Producing  Company :  Hammer  Film 

Producer:    Anthony  Hinds. 

Associate  Producer:  Anthony  Nelson 

Stars:  Brian  Donlevy,  John  Longden, 
Vera  Day,   Sydney  James. 

Director:    Val  Guest. 

Scenarist:    Nigel  Kneale. 

Camera  Department:  Lighting  Camera- 
man, Gerald  Gibbs;  Camera  Operator. 
Len  Harris;  1st  Camera  Assistant 
(Focus).  Harry  Oakes;  Other  Camera 
Assistants,  A.  Gatward. 

Sound  Department:  Recordist  (Mixer), 
Cliff  Sandall;  Sound  Camera  Operator, 
Bill  Robson;  Boom  Operator,  Claude 
Hitchcock;  Other  Assistants,  J.  West: 
Dubbing  Crew,  Gate  Recording 

Art  Department:  Art  Director,  Bern- 
ard Robinson;  Draughtsman,  David 
Butcher:   Dress  Designer,  Rene  Coke. 

Editing  Department:  Editor,  James 
Needs;  1st  Assistant,  Michael  Hart: 
Dubbing  Editor,  A.  E.  Cox. 

Production  Department :  Production 
Manager  and/or  Unit  Production 
Manager:  John  Workman;  1st  Assis- 
tant Director,  Don  Weeks;  2nd  Assis- 
tant Director,  Stan  Goulder;  3rd 
Assistant  Director.  Hugh  Harlow; 
Continuity,  June  Randall;  Produc- 
tion Secretary,  Angela  Taub. 

Publicity  Department:  Publicity  Direc- 
tor,  Bill  Batchelor. 

Stills  Department:  Still  Cameraman. 
John  Jay. 

Special  Processes:  Special  Effects  De- 
partment, Pinewood. 


Year  of  Production  :    1956. 

Studio:    Bray  Studios. 

Laboratory :     Humphries   Labs.    Ltd. 

Producing  Company:  Hammer  Film 

Producer:    Anthony  Hinds. 

Associate  Producer:  Anthony  Nelson 

Stars:  Peter  Cushing.  Hazel  Court. 
Christopher  Lee,  Robert  Urquhart. 

Director:    Terry  Fisher. 

Scenarist:    James  Sangster. 

Camera  Department:  Lighting  Camera- 
man, Jack  Asher;  Camera  Operator, 
Len  Harris;  1st  Camera  Assistant 
(Focus),  Harry  Oakes;  Other  Camera 
Assistant,   John  Pratt. 

Sound  Department:  Recordist  (Mixer), 
W.  H.  P.  May;  Sound  Camera  Opera- 
tor, Michael  Sale;  Boom  Opeiator, 
Jimmy  Perry;  Dubbing  Crew,  Anvil 

Art  Department:  Production  Designer. 
Bernard  Robinson;  Art  Director,  Ted 
Marshall;  Draughtsman,  Don  Mingay; 
Dress  Designer.  Molly  Arbuthnot. 

Editing  Department:  '  Editor,  James 
Needs;  1st  Assistant,  Roy  Norman; 
Other  Assistant,  Max  Wheeler. 

Production  Department:  Production 
Manager  and/or  Unit  Production 
Manager,  Don  Weeks;  1st  Assistant 
Director,  Derek  Whitehurst;  2nd 
Assistant  Director,  Jimmy  Komisar- 
jevsky;  3rd  Assistant  Director.  Hugh 
Harlow:  Continuity,  Doreen  Soan; 
Production  Secretary,  Faith  Frisby. 

Publicity  Department:  Publicity  Direc- 
tor, Leslie  Frewin. 

Stills  Department:  Still  Cameraman. 
John  Jay. 

Special  Processes:    Eastmancolour. 


Year  of  Production:    1957. 

Studio:    Beaconsfield. 

Laboratory:     Humphries. 

Producing  Company  :  Beaconsfield  Films 

Producer:     Peter   Rogers. 

Stars:  John  Mills.  Derek  Farr.  Noelle 
Middleton,  Ronald  Culver.  Wilfrid 
Hyde   White. 

Director:     Gerald   Thomas. 

Sceyiarist :    Francis  Durbridge. 

Camera  Department :  Lighting  Camera- 
man. Otto  Heller;  Camera  Operator. 
Alan  Hume;  1st  Camera  Assistant 
(Focus).  Brian  West;  Other  Camera 
Assistant,    Fhilip  Finch. 

Sound  Department:  Recordist  (Mixer). 
Len  Page;  Sound  Camera  Operator. 
George  Price;  Boom  Operator.  Don 
Roberts;  Other  Assistant.  Frank 
Sloggett  (Maintenance);  Dubbing 
Crew,  Anvil  Films  Ltd. 

Art  Department :  Art  Director.  Jack 
Stevens;   Draughtsman.   Erie  Saw. 

Editing  Department:  Editor.  Peter 
Boita;  1st  Assistant,  Mike  Round; 
Other  Assistant,  Peter  Keen;  Dub- 
bing  Editor.    Richard   Marden. 

Production  Department :  Production 
Manager  and/or  Unit  Production 
Manager.  Basil  Keys;  1st  Assistant 
Director,  William  Hill;  2nd  Assistant 
Director,  Bob  Jones;  Continuity.  Rita 
Davison;  Production  Secretary."  Paul- 
ine Chessell. 

Publicity  Department:    Publicity  Direi 
tor,   Leslie  Frewin. 

Stills  Department:  Still  Cameraman. 
Tom    Belshaw. 

December  1957 




Year  of  Production:    1956/57. 

Studio:    Shepperton. 

Laboratory:    Humphries. 

Producing  Company:  Hallmark  Pro- 
ductions Ltd. 

Producer:    Michael  Relph. 

Associate  Producer:    Leslie  Gilliat. 

Stars:  Virginia  McKenna,  Bill  Travers, 
Bernard  Miles,  Peter  Sellers,  Mar- 
garet  Rutherford. 

Director:    Basil  Dearden. 

Scenarists :  William  Rose,  John 

Camera  Department:  Lighting  Camera- 
man, Douglas  Slocombe ;  Camera 
Operator,  Jeff  Seaholme;  1st  Camera 
Assistant  (Focus),  Paddy  A'Hearne; 
Other  Camera  Assistant,  Ron  Drink- 

Sound  Department:  Recordist  (Mixer), 
Buster  Ambler;  Sound  Camera  Opera- 
tor, Jimmy  Dooley;  Boom  Operator, 
Ken  Ritchie;  Other  Assistant,  Eric 
Vincent  (Maintenance);  Dubbing 
Crew,  Bob  Jones,   John  Aldred. 

Art  Department:  Art  Director,  Allan 
Harris;  Draughtsmen,  Roy  Walker. 
John  G.  Earl;  Dress  Designer,  An- 
thony Mendleson. 

Editing  Department:  Editor,  Oswald 
Hafenrichter;  1st  Assistant,  Alban 
Streeter;  Other  Assistants,  Eileen 
Daines,  Alan  Corder,  Guy  Ambler; 
Dubbing  Editor,   Arthur  Cox. 

Production  Department:  Production 
Manager,  John  Pellatt ;  1st  Assistant 
Director,  Eddie  Pike;  2nd  Assistant 
Director,  John  Meadows;  3rd  Assis- 
tant Director,  Claud  Watson;  Con- 
tinuity, Jane  Buck;  Production  Sec- 
retary,  Jean  Williams. 

Publicity  Department :  Publicity  Direc- 
tor,  Robin  Grocott. 

Stills  Department:  Still  Cameraman, 
Norman  Hargood. 

Special  Processes:  Wally  Veevers, 
George  Samuels. 


Year  of  Production:    1957. 

Studio:     Walton-on-Thames. 

Laboratory :     Denham. 

Producing     Company:      Parkside     Film 

Productions  Ltd. 
Producer:    Roger  Proudlock. 
Stars:     Eunice   Gayson,    Roland   Culver. 

Guy   Rolfe. 

inn  ctoi      Terry  Bishop. 

Scenarist:    Roger  Proudlock. 

rami  in  Department:  Lighting  Camera- 
man, Jimmy  Harvey;  Camera  Opera- 
tor, Eric  Williams;  1st  Camera  Assis- 
tant (Focus),  Mike  Wilson;  Other 
Camera    Assistant.    Peter   Burke. 

Sound  Department  Recordist  (Mixer). 
H.  ('.  Pearson;  Sound  Camera  Opera- 
tor, I).  Gardner;  Boom  Operator, 
C.  Humphreys;  Maintenance.  C. 
Barnes;  Dubbing  Crew,  R.C.A.  Ham- 

Ill  /  >t  inn  t  mi  at  Art  Director,  Tony 
Masters;  Assistant  Art  Director, 
Draughtsman,  Dress  Designer — c/o 
NettlefnM    Studio: 

Editing  Department:  Editor.  Lito 
Carruthers;    1st   Assistant,   Bill  Creed. 

Production  Department:  Production 
Manager,  Ben  Arbeid ;  1st  Assistant 
Director,  Douglas  Hickox;  2nd  Assis- 
tant Director,  John  Roddick :  3rd 
Assistant  Director,  Jacques  de  Lane 
Lea;  Continuity.  Bettj  Harley;  Pro- 
duct ion   Sei  tet. -it  \  .    I  liana    Italian. 

Publicity  Department  Publicitj  Direc- 
tor, Jack  Daw. 

stills  Department:  Still  Cameraman, 
I  touglas  Webb. 


Year  of  Production:    1957. 

Studio:    Beaconsfield. 

Laboratory:  Rank  Laboratories  (Den- 
ham) Ltd. 

Producing  Compami:  Insignia  Films 

Producer:    Herbert  Smith. 

Executive  Producer:    Peter  Rogers. 

Stars:  Barbara  Shelley,  Robert  Ayres. 
Kay  Callard. 

Din  i  tor:    Alfred  Shaughnessy. 

Scenarist:    Lou  Russoff. 

Camera  Department:  Lighting  Camera- 
man, Peter  Hennessy;  Camera  Opera- 
tor, Paddy  A'Hearne;  1st  Camera 
Assistant,  Tommie  Fletcher;  Other 
Camera  Assistant,   Michael  Rutter. 

Sound  Department:  Recordist  (Mixer). 
Len  Page;  Sound  Camera  Operator, 
George  Rice;  Boom  Operator,  Don 
Roberts;  Other  Assistant,  Frank 
Sloggett  (Maintenance);  Dubbing 
Crew.   Anvil  Films  Ltd. 

Art  Department :  Production  Designer, 
Jack  Stevens;  Art  Director,  Eric- 

Editing  Department:  Editor,  Jocelyn 
Jackson;  1st  Assistant,  Chris  Hone; 
Other  Assistant,   Ian   Marsden. 

Production  Department:  Production 
Manager,  Pinky  Green;  1st  Assistant 
Director,  William  Hill;  2nd  Assistant 
Director,.  Bob  Jones;  Continuity, 
Olga  Brookes;  Production  Secretary, 
Cynthia  Maugham. 

Publicity  Department:  Publicity  Direc- 
tor,  Philip  Ridgeway. 

Stills  Department:  Still  Cameraman, 
Tom  Belshaw. 


Year  of  Production:    1957. 

Studio:     Pinewood. 

Laboratory:  Rank  Laboratories  (Den- 
ham)  Ltd. 

Producing  Company:  Rank  Organisa- 
tion Film  Productions  Ltd. 

Producer:     Emeric    Pressburger. 

Production    Controller:     Arthur    Alcott. 

Associate  Producer:    Sydney  Streeter. 

Stars :  John  Gregson,  Belinda  Lee, 
Cyril   Cusack. 

Director:     Julian   Amyes. 

Scenarist :    Emeric  Pressburger. 

Camera  Department:  Lighting  Camera- 
man. Chris  Challis;  Camera  Operator, 
Austin  Dempster;  1st  Camera  Assis- 
tant (Focus),  Steve  Claydon;  Other 
Camera   Assistant.   Leon  Davis. 

Soiiiitl  Department:  Recordist  (Mixer), 
John  W.  Mitchell;  Sound  Camera 
Operator,  Ron  Butcher;  Boom 
Operator,  John  Daniel:  Boom  Assis- 
tant. Roy  Charman ;  Dubbing  Crew, 
Gordon  K.  McCallum,  J.  L.  W.  Wood- 
wiss,  C.  le  Messurier;  Music.  Ted 

Art  Department:  Art  Director,  Carmen 
Dillon;  Assistant  Art  Director  (Set), 
Vernon  Dixon.  Draughtsmen.  T.  Marsh 
(Chief),     P.     Lamont,     M.     Lamont; 

Dress    Designer,    Julie   Harris. 

Editing  Department:  Editor,  Arthur 
Stevens;  1st  Assistant.  Jack  Gardner; 
Other  Assistant,  Norman  Wanslall; 
Dubbing  Editor.  Arthur  Ridout  ;  Dub- 
bing  Assistant,   Graham   Harris. 

Production  Department:  Production 
Manager.  Charles  Orme;  1st  Assistant 
Director,  Bob  Asher;  2nd  Assistant 
Director.  Charles  Hammond;  3rd 
Assistant  Director,  Denzil  Lewi.-; 
Continuity,  Gladys  Goldsmith;  Assis- 
tant Continuity.  Loreiev  Stephens; 
Production  Secretary.  Jeanette  Green 

Publicity  Department  Pnii  Publicist, 
Jean  « isborne. 

Stills  Department  Still  Cameraman, 
Norman  Grys] rdt . 


Year  of  Production:    1957. 

Studio:    Southall. 

Producing  Company:  Major  Produc- 
tions (London)  Ltd. 

Producer.    John  Temple-Smith. 

Stars:  Griffith  Jones,  Ursula  How  ell- 
Honor  Blackman. 

Director:    Peter  Graham  Scott. 

Camera  Department:  Lighting  Camera- 
man, Jimmy  Harvey;  Camera  Opera- 
tor. Tony  Heller;  1st  Camera  Assis- 
tant   (Focus),   Peter  Sandford. 

Sound  Department:  Recordist  (Mixer). 
Dick  Smith:  Sound  Camera  Operator-. 
Harry  Tate:  Boom  Operator,  John 

Art  Department:  Art  Director,  Norman 
Arnold;  Draughtsman.  Thomas  Cos- 

Editing  Department:  Editor,  Thomas 

Production  Department:  Production 
Manager,  Donald  Wvnne;  1st  Assis- 
tant Director,  Buddy  Booth:  2nd 
Assistant  Director,  Jan  Saunders; 
Continuity,  Gladys  Reeve;  Produc- 
tion Secretary,  Tfix  Wilkin. 

Stills  Department:  Still  Cameraman. 
Curtis  Reekes. 

British  Transport  Films 

On  all  films 
Executive  Producer:    Edgar  Anstey. 
Product  ion    Manager:     Len  Girdlestone. 
Assistant    Production    Manager:     Ruth 


Technicolor  from  Kodachrome 
15  minutes 

Producer:    Ian  Ferguson. 

Director:    Michael  Clarke. 

Cameramen:       Reg     Hughes,      Michael 

Editor:    Margot  Fleischner. 

Assistant  Director:    Paul  Khan. 

Assistant    Cameramen:     David    Watkin, 
John  Mantell. 

Assistant  Editor:    Pat  Jones. 

Commentary  written  In/  Norman  Prout- 

Commentary   spoken    by    Meredith    Ed- 

Music  composed  by  Edward  Williams. 

Recording :    Anvil  Films. 


Technicolor  from  Kodachrome 
24  minutes 

I'rtitlu,  t  i       Ian   Ferguson. 
Director:    Tony  Thompson. 
Cameraman:     Ron  Craigen. 
Editor:    John  Legard. 
Assistant    Director      Edward   Scott. 
Assistant    Cairn  raman  :      Lewis    McLeod. 
Assistant  Editor:    David  Plumb. 
Commentary  written  by  Norman  Prout- 

Commentary   spoken    by    Ralph    Wight 

man,  Uffa  Fox. 
Music  composed   by  Hubert    Clifford. 
Recording:    Anvil  Films. 


5  minutes 

Product  r     Stewart    McAllistei 
Director:    Tony  Thompson. 
Cameraman:    David  Watkin. 

Editors:     Stewart    McAllister.   Adrian   de 

Assistant  Cameraman:    Jack  West 
Assistant    Editor:     Rosina   Pedrick. 
Writti  a  by  Paul  Le  Saux. 
Spoken   tiu  Harry  Locke,  John  Warren 
Bi  i  ording     Anvil  Films. 

December  1957 




I  HAVE  been  dedicated  to  films 
practically  all  my  grown-up  life. 
I  threw  in  my  lot  with  the  cinema 
in  its  comparatively  early  days, 
when  pay  was  low  and  one  had  to 
fight  alone  against  snobs  and 
Philistines  for  the  recognition  of 
this  new  art. 

The  cinema  then  was  not  only 
ignored  or  even  despised  by  the 
intelligentsia,  but  Wardour  Street 
and  the  studio  chiefs  were  distrust- 
ful of  workers  whom  they  regarded 
as  "educated".  (How  different 
things  became  in  this  respect  some 
years  later  when  at  certain  studios 
one  could  hardly  get  a  job  without 
an  Old  Etonian  tie  and  a  university 
education — though,  as  an  alterna- 
tive, titled  relatives  would  help 
more  than  somewhat!) 


Shortly  after  I  had  committed 
myself  to  films,  there  was  quite  a 
flow  of  dedicated  men  into  our 
studios.  That  was  in  the  mid- 
twenties,  when  the  first  Film 
Society  was  formed,  when  we  were 
fighting  for  the  first  Film  Quota 
legislation  (with  its  vital  require- 
ment for  Renters  to  sponsor  a 
quota  of  British  productions)  and 
when  Ivor  Montagu  and  I  were 
active  with  our  film-editing  com- 
pany, supplying  British  studios 
with  our  hand-picked  colleagues, 
all  of  whom  were  dedicated 
pioneers  and  included  such  men 
as  Ian  Dalrymple,  Frank  Wells, 
Angus  MacPhail,  Jock  Orton,  Tod 
Rich,  Michael  Hankinson  and 
Sergei  Nolbandov. 

Even  in  those  days,  I  realised 
that  there  were  degrees  of  dedica- 
tion and  that  one  could  give  one's 
devotion  to  films  in  different  ways. 
Some  of  my  associates  lived  en- 
tirely in  a  world  of  films,  going  to 
see  movies  every  night,  travelling 
considerable  distances  to  track 
down  a  film  they  had  missed, 
noting  cinematic  tricks  and 
dramatic  twists,  and  storing  their 
impressions  for  future  use. 

Although  the  enthusiasm  of  these 
devotees  was  inspiring  and  their 
knowledge  of  trends  and  experi- 
ments in  film  production  kept  us 
informed,  their  suggestions  at 
work  were  derived  from  other 
films,  rather  than  from  life.  I  am 
reminded      of      William      Archer's 

advice  to  playwrights,  "  Let  your 
inspiration  come  from  life,  not 
from  the  theatre." 

This  is  a  risk  we  also  run  when 
we  get  in  the  swim  as  directors, 
associate-producers,  script-writers 
and  others  in  important  key  posi- 



tions,  and  we  become  involved  in  a 
succession  of  first  nights,  film 
parties,  Savoy  Grill  suppers, 
Caprice  luncheons  and  mixing  only 
with  other  people  in  the  show 
business,  dashing  from  studios  to 
these  occasions  in  our  fast  cars 
and  losing  touch  with  the  realities 

Adrian    Brunei    with    his    l!tl!)    model 
Debrie  camera 

of  life,  which  is  regrettable  since 
these  people  set  the  tone  for  our 

There  are  many  ways  in  which 
one  can  be  dedicated  to  films. 
There  is  the  careerist,  whose 
medium  is  film.  He  is  often  some- 
what more  dedicated  to  himself 
than  to  the  cinema  and  is  generally 
a  diplomat,  a  good  mixer  with 
important  but  inferior  people  and 
a  ruthless  handler  of  his  financial 
backers,   yet   in   many   cases  he   is 

an  asset  to  films  and  the  best  of 
this  category  are  amongst  the 
world's  outstanding  movie-makers. 
Many  film  technicians  are  dedi- 
cated men  and  women — until  ambi- 
tion leads  them  to  become  direc- 
tors !  While  they  were  good  or 
very  good  script-writers,  camera- 
men, art-directors  or  editors,  for 
example,  they  were  dedicated  to 
their  chosen  tasks  as  well  as  to  the 
cinema  and  were  creative  film- 
makers in  production  teams,  even 
though  individualists. 

Then  the  glamour  of  being  head- 
man on  the  studio  floor  or  the 
inner  conviction  that  they  could  do 
better  than  the  welder-in-chief  with 
whom  they  worked,  gets  hold  of 
them.  Occasionally  their  hunch  is 
right  and  their  change  of  position 
is  justified,  but  too  often  they  lack 
something,  such  as  a  forcefulness 
in  their  dealings  with  their  War- 
dour  Street  bosses,  and  so,  in  the 
battle  for  assignments  and  treat- 
ments, they  temporise,  their  dedi- 
cated and  missionary  principles 
dwindle  and  they  end  up  cynical 
and  disillusioned  hacks,  and  as  a 
result  we  lose  keen  and  first-rate 
writers,  cameramen,  art-directors 
or  editors. 

"  Don't  Lose  Touch  " 

it  is  because  I  have  seen  this 
happen  that  I  have  begged  such 
friends  of  mine  when  embarking  on 
careers  as  directors  not  to  lose 
touch  with  their  old  techniques,  so 
that  if  they  are  not  the  successes 
they  hoped  to  be  as  directors,  they 
could  still  maintain  pride  of 
achievement  in  their  previous  jobs 
and  thus  remain  dedicated  to  films, 
instead  of  becoming  cynical  and 

I  am  reminded  of  my  own  experi- 
ence. As  a  director  I  was  always 
thoroughly  at  home  in  the  job, 
working  with  artists  and  techni- 
cians, but  I  was  not  tough  enough 
in  the  constant  battle  with  my 
employers.  I  would  have  been  far 
happier  had  I  kept  in  touch  with 
the  market  for  editors,  alternating 
assignments  to  direct  with  those 
to  edit.  I  would  have  been  more 
successful,  too,  if  I  had  pursued 
such  a  policy,  for  I  never  reached 
a  position  where  I  could  pick  and 
choose  my  stories  or  my  employers; 

(continued  on  page  168) 



December  1957 



"DHYSICALLY  he  is  a  squarish, 
•*-  saturnine  near-fifty  with  a  dis- 
tinguished head  of  immaculate 
iron-grey  hair.  Psychologically  he 
is  a  disciplined  rebel,  an  optimist, 
and  an  enthusiast  for  the  good 
things  of  life.  The  facts  behind 
the  man  are  legion  and  illuminat- 
ing; a  BBC  staff  television  pro- 
ducer in  1938;  one  of  the  founders 
and  now  chairman  of  the  Guild 
of  Television  Producers  and 
Directors;  first  A.C.T.T.  television 
Vice-President  and  television  Exe- 
cutive Council  member;  first  Head 
of  Drama  for  A.T.V.;  and  producer 
of  more  television  plays  than  he 
can  count. 

The  man  behind  the  facts  is 
more  elusive,  and  frequently  con- 
tradictory; he  is  a  meticulous, 
painstaking  craftsman  who  plans 
his  productions  with  an  accuracy 
that  prevents  much  of  the  scurried 
panic  that  is  so  common  a  feature 
of  a  television  studio,  and  yet  he 
has    a    ready   and    biting   sense   of 


humour  that  can  turn  as  often 
against  himself  as  against  other 
people;  his  practical  enthusiasm 
for  the  Guild  and  for  the  union  is 
evidenced  by  the  number  of  com- 
mittees he  serves  on,  and  the 
amount  of  time  he  spends  away 
from  home  and  office,  and  yet  he 
hates  politics  and  is  a  devoted 
family  man,  proud  father  of  two 
daughters;  he  is  a  keen  fighter  for 
freedom — particularly  his  own — 
which  is  why,  having  escaped  from 
the  tentacles  of  the  BBC  and  re- 
signed a  top  administrative  posi- 
tion with  ATV,  he  now  insists  on 
remaining  a  completely  free  free- 
lance producer. 

Felt  the  Call 

Desmond  Davis  started  his 
career  as  an  engineer  but  soon  felt 
the  siren  call  of  the  entertainment 
industry  and  spent  his  apprentice 
years  acting  and  stage-managing, 
notably  for  Basil  Dean,  and  for 
Sir  Nigel  Playfair  at  the  Lyric 
Theatre,  Hammersmith,  where  he 
gained  the  musical  experience 
which  in  October  1939  led  the 
BBC  to  transfer  him  to  the  Music 
Productions  of  sound  radio  where 
he  wrote,  adapted  and  produced 
musical  shows,  operas  and 

After  the  war,  even  before  he 
was  officially  demobilised  from  the 

On  being  dedicated  to  films 

( continued) 

the  inexorable  demands  of  land- 
lords and  household  expenses 
usually  landed  me  an  assignment 
that  at  its  best  was  a  challenge  to 
disguise  and  gild  a  piece  of  tripe. 
to  quote  Anita  Loos.  My  main 
comfort  is,  however,  that  I  never 
lost  my  faith  in  the  cinema,  for 
films  had  become  an  ineradicable 
"  religion  "  and  an  obstinate 
"  patriotism  "  with  me. 

Although  I  have  stressed  the 
importance  of  keeping  closely  in 
touch  with  real  life  and  with  people 
of  all  kinds.  1  maintain  that  one 
who  would   claim   to  be   dedicated 

to  the  cinema  should  make  sacri- 
fices in  its  cause.  An  obvious 
sacrifice  is  active  participation  in 
Union  affairs,  together  with  addi- 
tional political  agitation  for  the 
protection  of  our  film  production 
industry — such  as  pestering  M.P.s 
and  newspapers  with  personal 
letters.  Not  so  much  of  a  sacrifice, 
but  rather  a  pleasurable  duty,  is 
to  support  such  institutions  as  the 
British  Film  Institute,  the  British 
Film  Academy,  the  National  Film 
Theatre  and  one's  local  Film 

And  finally,  a  personal  sugges- 
tion for  your  home — collect  things 
of  interest  connected  with  films, 
such  as  books,  stills,  programmes 
and  even  apparatus! 

army,  he  was  again  producing  tele- 
vision shows  and,  when  American 
television  started,  he  was  sent  for 
to  advise  and  lecture  on  television 
production  methods.  Back  in  this 
country  he  helped  to  pioneer  the 
High  Definition  system  of  film 
making  under  Norman  Collins. 

It  is  this  breadth  of  experience 
in  several  media  that  is  his  parti- 
cular strength.  His  basic  training 
in  the  theatre  and  in  the  control  of 
actors  has  ensured  that  he  is 
equally  at  home  in  theatre,  radio, 
television  and  film.  As  a  director, 
Davis  is  a  dedicated  man,  satisfied 
only  with  the  best,  and  demand- 
ing just  that,  whether  it  is  from 
actor,  writer,  stage-hand,  camera- 
man, management  or,  above  all, 

He  will  work  long  hours,  fre- 
quently deep  into  the  night,  ironing 
out  every  little  kink  and  detail 
for  a  forthcoming  production.  His 
method  with  actors  is  to  cajole 
and  explain  rather  than  to 
dominate,  and  any  really  important 
point  is  worked  out  over  a  drink 
in  a  nearby  pub.  Here  he  is  at  his 
best,  a  fluent  talker  and  raconteur 
who,  when  his  particular  interest 
is  aroused,  will  tend  to  dominate 
any  conversation,  not  from  selfish 
reasons,  but  by  the  sheer  weight 
of  his   enthusiasm. 

Against  Diets 

A  conservative  in  the  best,  and 
least  political  sense  of  the  word, 
he  is  on  the  side  of  civilisation- 
particularly  a  classical  civilisation, 
and  strongly  deprecates  the  inven- 
tion of  the  internal  combustion 
engine.  He  is  for  Georgian  archi- 
tecture and  against  modern  flats; 
he  is  a  wine  drinker  and  a  gourmet, 
and  against  cocktails  and  diets 
and  pill-taking;  he  would  inevit- 
ably be  against  television  were  it 
not  his  chosen  profession.  This 
being  so  he  brings  to  this  new- 
fangled entertainment  process  all 
the  passionate  absorbed  concentra- 
tion of  love  and  attention  that  an 
old-time  actor-manager  would  give 
to   his   theatre. 



December  1957 




CINCE  the  close  down  of  Para- 
^  mount  News  earlier  in  the  year 
there  has  been  considerable  com- 
ment in  the  industry  about  the 
future  of  the  remaining  cinema 
newsreels.  Most  people  have  adop- 
ted a  pessimistic  attitude  and  on 
the  face  of  it  with  some  justifica- 
tion. There  is  no  doubt  that  the 
newsreels  in  their  present  form  are 
no  longer  in  the  fairly  strong  posi- 
tion they  were  about  ten  years  ago. 

The  usual  reason  advanced,  of 
course,  is  that  it  is  because  of  the 
rise  of  television  news.  This  is  not 
altogether  true.  From  the  point  of 
"  up  to  dateness "  in  news,  the 
cinema  newsreels,  for  obvious 
reasons,  have  never  tried  to  com- 
pete with  television  newsreels  any 
more  than  television  itself  has 
seriously  tried  to  compete  with 
news  broadcasts  on  sound  radio. 

They  would  disagree 

Some  of  my  TV  colleagues  would 
strongly  disagree  with  this.  The 
tendency  among  international  TV 
networks  is  to  get  their  news  pic- 
tures out,  if  not  by  hours,  by 
minutes  ahead  of  their  rivals.  But 
in  this  country,  between  B.B.C.  and 
I.T.N.,  the  emphasis  is  gradually 
shifting  to  the  presentation  of 

This  brings  us  back  to  the 
cinema  newsreels.  They  are  de- 
signed to  form  part  of  a  cinema 
programme.  They  have  been  hit 
financially  for  more  or  less  the 
same  reasons  that  cinemas  have 
been  hit.  A  lot  of  people  are  con- 
vinced that  the  cinema  industry 
was  fundamentally  wrong  in  the 
way  it  handled  the  rise  of  televi- 
sion. First,  it  pretended  that  TV 
did  not  exist;  secondly,  that  it  was 
not  much  good  as  an  entertain- 
ment medium,  and  thirdly,  that  it 
would  not  last. 

It  is  not  the  purpose  of  this 
article  to  discuss  what  should  have 
been  done  or  what  steps  are  now 
being  taken  within  the  industry, 
but  the  newsreel  companies,  to  a 
very  large  extent,  identified  them- 
selves with  this  attitude  of  the 
exhibitors.  True,  they  did  not  have 
much  option,  but  now  with  the 
falling  of  box-office  takings  and 
the  closing  down  of  cinemas  them- 


selves,    they    are    financially    badly 

There  is  a  definite  resistance  on 
the   part    of   exhibitors   to   show    a 

This  Freedom 

One  of  our  members  writes : 

We  Tories  recently  encour- 
aged the  G.P.O.  to  increase 
the  telephone  charges.  Thus 
the  demand  for  telephones 
has  decreased  or,  to  put  it 
more  positively,  UNDER 

The  direct  result  of  this 
businesslike  policy  is  my 
telephone:  the  number  is . 

We  (the  Tories)  are  busy 
organising  a  slump,  or,  again 
more  positively,  increasing 
the  supply  of  labour.  If  it  is 
my  labour  that  is  increased 
and  in  case  you  hear  of 
something  at  which  I  might 
earn  a  crust,  please  make  a 
note  of  my  number. 


newsreel.  The  excuse  is  usually 
that  it  costs  too  much  for  the  pro- 
gramme time  involved,  and  in  any 
case,  "  everybody  has  seen  it  on 
television  already ".  The  cost  of 
producing  a  newsreel  has,  without 
any  doubt,  risen  enormously,  and 
revenue  has  not  kept  pace.  How 
these  losses  are  offset  by  the  parent 
companies  of  the  newsreels  or  by 
other  methods  is  something  we 
cannot  go  into  here. 

However,  within  newsreel  circles 
the  talking  point  is  "presentation". 
Pathe  News  are  now,  from  time  to 
time,    devoting   the    entire    reel    to 

some  controversial  topic  of  news 
or  to  some  news  story  which  war- 
rants a  longer  pictorial  presenta- 
tion than  would  normally  be  given. 

It  has  been  reported  that  Movie- 
tone, later  next  year,  may  be  pro- 
ducing a  black-and-white  Cinema- 
Scope  reel.  The  Rank  Organisation 
is  considerably  developing  along 
certain  lines  and  how  G.B.  News 
will  fit  in  is,  at  the  moment,  purely 

Obviously,  considerable  re-think- 
ing on  presentation  will  have  to  be 
made.  The  formula  which  has  been 
in  existence  for  nearly  thirty  years 
will  be  inadequate.  Have  we  the 
people  in  the  newsreels  who  are 
capable  of  producing  a  new  style 
of  reel,  or  are  they  so  inbred  that 
they  have  got  into  a  rut?  Can  the 
newsreels  risk  the  financial  cost  of 
experimenting  or  will  they  just 
fade  away? 

Finest  in  industry 

Our  newsreel  technicians  are 
among  the  finest  in  the  industry. 
Not  only  have  the  cameramen  to 
be  technically  proficient  under  all 
kinds  of  difficult  conditions,  but 
they  must  be  first-class  journalists 
as  well  in  order  to  provide  a  com- 
plete pictorial  report  of  a  news 
event  to  editors  who  only  have  a 
few  hours  to  sort  out  the  material 
and  present  it  in  a  comprehensible 
form.  It  is  a  wonder  that  there  are 
any  pictures  at  all !  The  standards, 
efficiency  and  discipline  are  there 
— what  are  we  going  to  do  with 
them  ? 

This  article  is  necessarily  brief. 
It  would  be  impossible  to  go  into 
the  problem  in  detail,  nor  is  it 
called  for.  It's  purpose  is  to  pro- 
vide a  fairly  informative  back- 
ground to  any  discussion  our  mem- 
bers may  have. 

That  dog  again  1 

".  .  .  in  between  the  big  debates, 
Conference  found  time  to  flay  the 
present  Government  for  its  present 
economic  and  financial  policy,  in- 
cluding raising  the  Bark  Ftate."- 
Misprint  in  George  Elvm's  report 
on    the    Labour   Party    Conference. 



December  IBS'* 

Book  Review 


NEXT   STOP — PEKING,   by   R.   J.      about  production  and  trade,  will  be 

Minney.     Newnes,   25/-. 

Members  had  a  glimpse  of  R.  J. 
Minney's  visit  to  China  when  he 
wrote    on    their    film    industry    in 

disappointed.  That  is  true  in  a 
way  because  it  is  not  that  kind  of 
a  book.  But  he  does  much  better 
than  that  because,  in  a  live,  fas- 
cinating   personal     record    of    his 

ample,   which  were   a  curse  of  old 
China  : 

"  The  next  morning,  while  Len- 
nox* and  I  sat  talking  in  his  room, 
we  saw  our  first  fly  in  China.  We 
had  not  been  forty-eight  hours  in 
the  country.  The  fly  crawled  along 
Lennox's  desk,  stopped,  saluted  us 
cheekily  with  both  front  feet  and 
trotted  on  gaily.  We  leapt  out  of 
our  chairs  to  have  a  closer  look. 
The  fly  stopped  again  and  stared 
defiantly  .  .  .  Undoubtedly  it  was  an 
event.  Here  at  any  rate  was  one 
fly  .  .  In  all,  during  the  entire 
period  of  our  stay,  we  saw  eight 
flies  in  various  part  of  China.  The 
tally  was  carefully  kept." 

Then  he  tells  us  how,  with  the 
help  of  Street  Committees  sanita- 
tion has  been  organised  and  clean- 
liness imposed,  resulting  in  the 
virtual  extermination  of  flies  and 
other  insect  pests  as  one  of  the 
results  of  the  exercise. 

In  such  fascinating  ways  "  R.J." 
pictures  the  new  China;  the 
awakening  of  a  giant,  as  he  des- 
cribes it,  with  vast  agricultural 
and  industrial  development,  rising 
living  standards,  and  a  people 
happy  and  imbued  with  hope. 

Not  only  have  I  been  thrilled  by 
Next  Stop — Peking,  it  has  left  me 

Above:    One    of    (he    Rates    of   the    Walled    City,    Peking. 

Bight:   K.  J.  Mi 

film  &  TV  technician  some  months 
ago.  Now  in  Next  Stop — Peking 
he  tells  the  whole  exciting  story  of 
his  trip  to  lecture  in  Peking  and 
elsewhere  at  Bernard  Shaw  Cen- 
tenary Celebrations.  Also,  as  be- 
hoves a  good  film  man,  he  illus- 
trates his  book  for  good  measure 
with  numerous  colour  and  mono- 
chrome photographs  taken  by  him- 

My  first  reaction  on  reading  the 
book  is  to  wish  that  R.  J.  Minney 
could  be  appointed  perpetual  sec- 
retary to  the  numerous  delegations 
which  visit  Russia,  China  and 
Eastern  Europe  and  return  home 
with  reports  which  are  frequently 
as  indigestible  as  they  are  statisti- 

in  his  preface  "R.J."  says  that 
those  who  expect  a  political  treat- 
ise,    with     comparative     statistic 

nney  in   Peking. 
Cover  still 

shows  the 

tilming   of   an 
opera     in 
colour     in 

16,000  mile  journey  through  Rus- 
sia, Siberia  and  China,  he  conveys 
to  us  the  transformation  which  is 
happening  in  those  countries,  par- 
ticularly China,  much  more  vividly 
than  most  travellers  have  done 
using  the  more  traditional  report- 
ing-back  methods. 

But  let  "  R.J."  speak  for  himself. 
On    disease-carrving    flies,    for    ex- 

itching,  as  I  know  it  will  other 
readers,  to  travel  the  same  route 
and  see  for  myself  the  rapid  and 
beneficial  strides  being  made 
along  the  road  to  accomplish  one 
of  the  supreme  achievements  of 
the  present-day  world.        q  h  E 

•    Lennox  the      Irish      play- 

wright,    was     "  U.J.'s  "     colleague    on 

the  trip. 

December  1957 




KEN  ROBERTS,  Secretary  of  the  Kodak  employees' 

A.C.T.T.    Branch,    describes   his    visits   to    the    Agfa 

and  Dekopan  factories 


TOURING  a  recent  stay  in 
U  Eastern  Germany,  I  eagerly 
accepted  an  invitation  from  the 
East  German  Chemical  Workers' 
Union  to  visit  the  raw  film  manu- 
facturing plants  of  Agfa  and 

The  State-controlled  Agfa  works 
is  situated  at  Wolfen,  in  a  greenish 
area  about  thirty  miles  from 
Leipzig.  It  is  indeed  an  astonish- 
ingly large  plant  employing  over 
15,000  workers  of  whom  60%  are 
employed  on  film  and  sensitised 
goods  production  and  409f  on  the 
manufacture  of  rayon,  artificial 
silk,  chemicals  and  magnetic  tapes. 

Dressed  in  White 

Before  commencing  my  exten- 
sive tour  accompanied  by  the 
factory  manager,  interpreter  and 
officials  of  the  Chemical  Union,  I 
was  dressed  from  head  to  foot  in 
white  protective  clothing,  which  is 
the  usual  precaution  taken  when 
entering  workrooms  where  sen- 
sitising is  taking  place;  this  helps 
to  prevent  dust  contamination  on 
the   film   emulsion   surfaces. 

At  my  own  request  the  pro- 
gramme was  concentrated  round 
the  actual  making  of  the  raw  film 
base,  the  viewing  of  the  emulsion 
coating  machines,  the  spooling 
sections,  melting  departments,  etc., 
in  fact,  all  the  processes  which  are 
essential  in  making  it  possible  to 
put  that  treasured  roll  of  film  in 
the  technician's  camera. 

I  was  shown  everything  I 
wanted  to  see  with  the  greatest 
friendliness  and  readiness.  During 
discussion  I  learnt  that  the  Agfa 
works  emerged  from  the  last  war 
almost  undamaged,  all  the 
machinery  and  technical  installa- 
tions were  unscathed,  making  it 
possible  to  start  production  im- 
mediately after  the  end  of  hos- 

Seemingly  a  great  obstacle  to 
the  competitive  capacity  of  Agfa 
in  the  world  market  was  the  com- 
pulsory release  of  all  their  patents 
and  processing  methods.  However, 
I  saw  for  myself  that  today  they 
are  working  to  full  capacity.  The 
working  week  generally  is  44 

In  the  main  departments,  a 
round-the-clock,  three-shift  system 
is  worked,  consisting  of  eight 
hours  per  shift. 

Numerous  grades,  positive,  nega- 
tive, colour  and  X-ray  are  being 
produced  for  internal  consumption 
and  for  export.  Ninety-nine  per 
cent  of  production,  I  learnt,  is  now 
on  safety  film  base. 

It  was  pointed  out  to  me  how  in 
pre-war  days,  under  the  economics 
of  private  ownership,  thousands  of 
pounds  were  often  spent  and 
countless  man-hours  invested,  in 
an  attempt  to  discover  a  process 
or  a  production  method  which 
another  local  film  competitor  had 
already       discovered.  Constant 

antagonism  between  companies 
existed.  But  today,  I  was  informed, 
in  Eastern  Germany  all  film  com- 
panies pool  their  ideas  and  ex- 
change personnel  and  experiences. 
Joint  meetings  are  held,  too,  be- 
tween German,  Russian,  Czecho- 
slovakian  and  other  film  workers. 
This  has  tremendously  minimised 
raw  film  defects,  overcome  produc- 
tion bottlenecks  and  has  revolu- 
tionised methods.  Industrial 
secrets  are  shared,  full  co-opera- 
tion is  the  motto. 

Advanced  Techniques 

This  united  co-ordination  has  not 
meant  a  destruction  of  the  com- 
petitive spirit,  or  a  stagnation  in 
production.  On  the  contrary,  it 
seems  to  have  had  the  opposite 
effect.  My  attention  was  drawn 
to  the  high  degree  of  mechanisa- 
tion, with  the  most  advanced 
techniques  I  have  ever  witnessed. 
I  observed  by  the  speed  of  the 
machines  and  the  intelligent  team 
work,  that  even  under  darkroom 
conditions  there  was  extremely 
high  productivity,  without  signs  of 
sweated  labour. 

As  a  trade  unionist,  I  of  course 
took  interest  in  the  activities  of 
the  factory  union.  Membership  of 
the  Chemical  Workers'  Union, 
which  caters  for  all  Agfa  workers, 
is  voluntary.  There  is  no  closed 

I  was  told  that  the  main  duties 
of    the    union    were    to    deal    with 

items  appertaining  to  the  welfare 
of  the  workers,  among  them  being 
wages,  social  insurance,  safety 
measures,  etc.  From  what  I  saw 
and  heard  it  is  not  failing  in  its 
job.     Wages  by  present  East  Ger- 

Ken    Roberts    at    Agfa    Factory 

man  standards  are  good.  Every 
kind  of  factory  amenity  one  could 
wish  for  is  available,  canteens, 
children's  nurseries,  dental  treat- 
ment, X-ray  units,  and  excellent 
medical  facilities. 

I  was  assured  that  dermatitis 
which  can  arise  from  the  handling 
of  chemicals,  raw  emulsions,  etc., 
is  extremely  rare  owing  to  pro- 
tective measures  which  are  in 

At  the  Dekopan  film  works  at 
Kopenick,  East  Berlin  (prior  to 
1945  this  plant  was  owned  by 
Kodak  Ltd.),  over  1,000  workers 
are  employed.  It  suffered  substan- 
tial damage  during  the  war  but  is 
now  fully  reconstructed  with  new 
extensions.  It  produces  its  own 
film  base. 

Owing  to  space  I  must  sum  up 
my  impressions  in  a  few  words. 
Work  conditions  and  amenities,  in 
common  with  Agfa,  are  first  rate. 
Modern  perfected  darkroom  tech- 
niques exist.  A  recent  achievement 
by  Dekopan  is  the  development  of 

(continued  on  page  172) 



December  1957 

Organisers'  Page 


C'MPLOYERS  in  the  Film  In- 
^  dustry  as  an  almost  invariable 
rule  honour  the  agreements,  but 
recently  a  case  arose  of  a  girl  who 
was  given  one  week's  notice  in- 
stead of  the  customary  two.  On 
approaching  the  employer  we  were 
told  that  as  she  was  not  a  member 
it  was  not  our  concern.  It  had  to 
be  pointed  out  that  no  one  can  be 
employed  at  conditions  less  favour- 
able than  those  laid  down.  It  is 
fair  to  add  that  the  two  weeks' 
notice  was  given. 

In  another  case  it  was  brought 
to  our  notice  that  a  member  had 
not  received  the  latest  increase,  on 
the  plea  that  he  had  received  a 
merit  award  just  prior  to  the  date 
of  the  award.  The  management 
did  not  feel  that  a  further  advance 
was  justified,  but  it  is  pleasing  to 
note  that  after  eleven  weeks  the 
advance  was  paid  with  retrospec- 
tive respect. 


The  tragic  death  of  Jim 
Campbell,  General  Secretary  of  the 
N.U.R.,  in  a  car  accident  has 
robbed  the  labour  movement  of  a 
great  figure.  As  a  former  railway 
worker  although  not  a  member  of 

East  Germany 

( continued) 

a  yellow-based  X-ray  film  giving  a 
clearer  definition  than  the  familiar 
black  and  white  type.  This  has 
been  acclaimed  as  the  X-ray  film 
with  a  future.  Output  of  film  and 
printing  papers  for  still  photo- 
graphy seemed  to  be  one  of  their 

If  I  am  asked  my  deepest  im- 
pression of  the  East  German  film 
workers,  my  answer  would  be,  first 
their  enthusiasm,  and  second,  their 
sense  of  ownership  of  their  fac- 

In  conclusion,  I  am  indebted  to 
the  Agfa  and  Dekopan  Manage- 
ments for  their  generous  hos- 
pitality and  particularly  to  the 
officials  of  the  East  German 
Chemical  Workers'  Union,  who 
went  to  great  lengths  to  make  my 
visit  pleasant,  instructive  and  en- 


the  N.U.R.,  I  would  like  briefly  to 
pay  a  tribute  to  a  man  of  out- 
standing integrity  and  humanity. 
Not  a  brilliant  orator,  he  spoke 
with  such  sincerity  and  argued 
with  the  B.T.C.  the  case  for  the 
railwaymen  with  a  real  under- 
standing and  genuine  feeling.  Jim 
Campbell  will  be  missed,  not  only 
by  railwaymen,  but  by  all  people  in 
the  organised  Trade  Union  move- 

Recently  a  Probationary  mem- 
ber submitted  an  application  for 
full  membership;  the  shop 
steward's  comment  is  worthy  of 
reproduction:  "  It  is  my  considered 
opinion,"  he  wrote,  "  that  the 
above-named  sponsors  are  either 
lying  in  their  teeth  or  have  been 
bought.  Mr.  X  ...  is  a  monarchist, 
a  reactionary  and  a  religious 
fanatic.  He  has  brought  disaster 
and  chaos  upon  every  picture  on 
which  he  has  worked.  He  is  sworn 
to  smash  the  Union  by  internal 
erosion.  He  demoralises  all  who 
work  with  him,  grinds  the  faces 
of  those  below  him  into  the  mud  of 
our  car-park  and  gives  succour 
and  encouragement  to  our  tyran- 
nical capitalist  masters. 

"  If  your  honours  are  prepared 
to  ignore  these  several  points, 
though,  I  have  no  hesitation  in 
recommending  that  his  application 
be  accepted  so  that  he  may  take 
his  rightful  place  with  the  rest  of 
us  rogues. —       — ,  Shop  Steward." 

The  member  who  very  sportingly 
sent  along  this  high  commenda- 
tion with  the  form  made  this  com- 
ment: "  Concerning  the  Shop 
Steward's  remarks,  I  feel  he  is  a 
member  of  the  wrong  Union,  I 
think  he  ought  to  belong  to  Equity 
like  any  other  comedian." 

Fred  Tonge 

"A  member  should  carry  not 
only  a  Union  card  in  his  pocket 
I  ut   Trade   Unionism  in  his  heart." 

Walter  Reuther,  U.S.A.  delegate 
to  the  T.U.C. 

Beaconsfield  Films 

has  been  elected  Journal  corres- 
pondent   at    Beaconsfield    Studios, 


"  A  meeting  was  called  recently 
for  the  purpose  of  clarifying  issues 
arising  out  of  reports  in  the  trade 
press  to  the  effect  that  Julian 
Wintle  had  done  a  deal  and  bought 
the  studio.  This  affected  many  of 
our  members  who  had  been  at 
Beaconsfield  since  the  Group  Three 
days.  They  felt  that  the  new 
owners,  Beaconsfield  Films  Ltd., 
had  come  to  the  studio  with  great 
ideas  but  could  not  now  live  up  to 

"  I  said  that  I  had  received 
reassurances  from  the  Board  of 
Directors,  with  whom  I  had  had 
several  meetings,  that  Mr.  Wintle 
would  keep  on  the  existing  techni- 
cians and  crews,  though  this  was 
strictly  a  gentleman's  agreement 
and  a  verbal  one. 


"  Several  questions  were  asked, 
and  some  members  expressed  their 
disappointment  that  Peter  Rogers, 
Managing  Director  of  Beaconsfield 
Films  Ltd.,  had  decided  to  make 
features  elsewhere.  In  many  ways 
this  marked  the  disintegration  of 
what  they  thought  was  a  good 
team.  Mr.  Rogers'  position  was 
that  he  desired  to  make  large-scale 
features  on  location,  using  such 
studio  space  in  Britain  as  may  be 
available   in   the  future. 

"  His  position  was  now  compli- 
cated by  the  advent  of  the  tele- 
series,  Ivanhoe,  which  was  occupy- 
ing the  main  stage  and  would  con- 
tinue to  do  so  until  early  next  year. 
This  cut  both  ways  :  the  Beacons- 
field technicians  and  general  staff 
would  continue  until  Ivanhoe  came 
to  an  end  and  there  was  the  chance 
of  another  long-range  job  being 
put  on  the  floor,  though  no  details 
wore  available  at  the  moment. 

"  The  meeting  was  held  under 
the  chairmanship  of  Herbert  Smith 
with  Les  Gray  as  secretary." 

Priestley  Judgment 

"...  a  great  deal  of  nonsense 
comes  out  of  TV  sets.  But  a  good 
deal  of  sense  comes  out  of  them, 
too,  probably  far  more  than  most 
elderly  lawyers  imagine.  And  after 
all,  much  the  same  can  be  said  of 
judges.  A  great  deal  of  sense 
comes  out  of  them,  and  so  does  a 
good  deal  of  nonsense." — J.  B. 
Priestlei/  in  Retinoid*  Y<  ictt. 

December  1957 



Films  in  the  Service  of  Industry 


THE  Harrogate  Festival  was  the 
first  opportunity  ever  for  spon- 
sors, producers  and  users  of  films 
for  industry  to  meet,  show  one 
another  their  wares  and  discuss 
common  problems.  Among  the  500 
or  so  attending  were  representa- 
tives from  practically  every  pro- 
duction unit,  from  many  official 
and  other  public  bodies,  from  all 
the  country's  major  industries  and 
many  of  the  lesser  ones,  and  from 
several  overseas  companies. 

Other  than  ourselves,  there  were 
only  four  Trades  Union  delegates, 
from  the  T.U.C.,  E.T.U.,  NATKE 
and  the  Union  of  Post  Office 
Workers.  Officials  of  the  National 
Union  of  General  and  Municipal 
Workers  and  the  T.U.C.  were 
among  the  speakers  and  the  latter 
body  was  represented  on  the  Coun- 
cil of  the  Festival  and  on  various 
sub-committees.  Of  course,  nearly 
all  the  delegates  from  the  pro- 
ducing side  were  A.C.T.T.  mem- 

Wide  Range  of  Subjects 

Of  some  330  films  submitted,  131 
had  been  selected  for  exhibition. 
They  carried  the  credits  of  60 
separate  units,  and  carried  a  wide 
range  of  subject  matter,  purpose 
and  treatment  and  cost.  In  each 
of  the  ten  categories  into  which 
they  were  divided,  there  were  two 
awards  to  be  won,  and  a  list  of  the 
winners  appears  at  the  end  of  this 

Incidentally,  it  is  a  sad  comment 
on  the  position  of  scientific  train- 
ing and  recruitment  in  British  in- 
dustry that  there  were  compara- 
tively few  entries  under  the  head- 
ing "  For  Use  in  Schools "  and 
"  Guidance  on  Careers  "  and  that 
in  these  categories  and  that  of 
"  Technical  and  Technological  " 
the  juries  found  no  film  worthy  of 
a  second  prize. 

Lord  Mancroft,  in  a  lively  speech 
opening  the  Festival,  had  firmly 
suggested  that  "  film  making 
should  be  left  to  the  professionals" 
and  this  advice  was  repeated  by 
several  subsequent  speakers.  There 
were,  in  fact,  besides  the  work  of 
contracting  companies,  and  of  full- 
time  "  internal  units  ",  some  ten 
films  on  view  produced  for  indus- 
trial firms  by  their  own  regular 
staff.  When  available  finance  is 
small  and  intended  audiences  very 
limited,  such  productions  may  well 
be  considered  as  complementary 
to,     rather     than     in     competition 

with,  the  work  of  professional 
technicians.  Nevertheless,  it  will 
be  interesting  to  watch  the  de- 
velopment of  the  move  by  Colour 
Film  Services  Ltd.,  to  sponsor  an 
association  of  bodies  engaging  in 
this  sort  of  activity. 

Discussion  Sessions 

The  discussions  sessions  were 
perhaps  the  most  difficult  part  of 
the  proceedings  to  assess.  The 
subjects  chosen  ("Productivity", 
"  Public  Relations  ",  "  Technical 
Education  ",  "  Sales — Home  and 
Overseas  ",  "  Health  and  Safety  ", 
"  Job  Training  "  and  "  Distribu- 
tion") were  in  themselves  interest- 
ing and  important  but  offered  too 
wide  a  scope  to  be  dealt  with  ade- 
quately in  a  couple  of  hours,  and 
this  problem  was  accentuated  by 
the  number  of  platform  speakers — 
usually  four — at  each  session  and 
by  the  restriction  of  the  floor  to 
questions  rather  than  discussion. 

As  a  result,  while  the  general 
exchange  of  views  and  information 
was  useful,  it  was  rare  for  any 
single  point  to  be  pursued  to  a 
satisfactory  conclusion. 

Difficult  to  Assess 

One  of  the  primary  objects  of 
the  Festival,  of  course,  was  to 
spread  the  gospel  of  the  film  to 
sectors  of  the  industry  which  have 
so  far  made  little  or  no  use  of  the 
medium.  On  this  point,  too,  the 
results  are  difficult  to  assess  with- 
out fuller  knowledge  of  the 
interests  represented,  but  it  is 
obviously,  in  any  case,  not  a  short- 
term  matter,  and  the  very  fact 
that  a  co-ordinated  attempt  has 
been  made  on  the  problem  is  itself 
a  hopeful  sign. 

At  the  close  of  the  proceedings, 
delegates  were  asked  for  their 
views  on  whether  the  occasion 
should  be  repeated.  It  is  our  view 
that  if  the  inevitable  teething 
troubles  mentioned  above  can  be 
overcome,  the  event  should  become 
one  of  positive  value  to  the 
specialised  side  of  film  making. 

The  Winning  Films 


1st    Prize:     Oil  Harbour — Aden 

World    Wide     Pictures    for    George 

Wimpey  &  Co.  Ltd. 
Producer:     James    Carr.    Director: 

Derek  Williams. 

Honourable   Mention:     Atlantic   hint; 

Technical    and    Scientific    Films    for 
Central    Office   of   Information 

Producer/Director:  Jack  Green- 
wood. Director  of  Photography: 
John  Wiles. 


1st    Prize:     Introducing    Telex 

R.H.R.  Productions  for  Creed  &  Co. 

Producer:    Ronald  H.  Riley.    Direc- 
tor:    Richard    Tambling. 
Honourable     Mention:       Pipeline     into 
Greenpark  Productions  for  Costain- 

John  Brown  Ltd. 
Producer:        Humphrey       Swingler. 
Director  /  Cameraman:         Roland 


1st    Prize:     Successful  Instruction 

R.H.R.       Productions       for       Army 

Kinema   Corporation. 
Producer:    Ronald  H.  Riley.    Direc- 
tor:    David   Villiers. 
Honourable    Mention:     Safe    Transit 
Pilot    Films    for    British    Transport 
1st     Prize:      High     Speed     Flight — Ap- 
proaching   the    Speed    of   Sound 
Shell  Film  Unit  for  Shell  Petroleum 

Co.  Ltd. 
Production  Consultants:    Film  Cen- 
tre,  London.     Director:    Peter  de 


1st    Prize:     Mirror   in    the   Sky 

Realist   Film  Unit   for  Milliard  Ltd. 
and    Educational    Foundation    for 
Visual  Aids. 
Producer:    Basil  Wright.  Director: 
Alex  Strasser. 
1st   Prize:     Golden  Minutes 

United    Motion     Pictures    for    Wolf 

Electric  Tools  Ltd. 
Producer:     J.    J.    Sheppard.     Direc- 
tor:  Forbes  Taylor. 
Honourable    Mention:     Demonstrational 
Harold       Goodwin       for      the      Gas 
First    Prize:     Don't   be  a  Dummy 

Verity  Films  for  Central  Electricity 

Producer:     O.    Skilbeck.      Director: 
J.  Mendoza. 
Honourable   Mention:     Criticality 

Film     Producers'     Guild     for     U.K. 

Atomic   Energy   Authority. 
Producer:        G.        Buckland  -  Smith. 
Director:     Bill    Pollard. 
1st    Prize :     Golden   Future 

World     Wide     Pictures     with     Film 
Centre   for  Transvaal   and  Orange 
Free   State  Chamber  of  Mines. 
Producer:     James   Carr.      Director: 

Julian  Spiro. 
1st    Prize:     Introducing   Work  Study 
World    Wide    Pictures    for    British 

Productivity   Council. 
Producer:    Hindle  Edgar.  Director: 
Clifford   Parris. 
Honourable     Mention:       Think     of     the 
Halas     and     Batchelor     Films      for 
European      Productivity      Agency 
with  Central  Office  of  Information. 
Producer /Direct  or:    John  Halas. 

(continued  on  page  174) 



December  1957 


Derek  Whitehurst  informs  us 
that  owing  to  an  error  on  the  part 
of  the  producers  he  did  not  receive 
the  screen  credits  due  to  him  as 
assistant  director  of  Inside  Infor- 
mation and  The  Case  of  the 
Smiling  Widow  in  the  Scotland 
Yard  series  made  by  Anglo-Amal- 
gamated  at  Merton   Park   Studios. 

The  credits  were  inadvertently 
given  to  a  previous  assistant 

Derek  Whitehouse  took  the 
matter  up  with  the  production 
company  who  apologised  and  con- 
tacted A.C.T.T.  in  order  to  give  the 
Union  the  correct  credit  informa- 


Fred  Tonge  represented  A.C.T.T. 
at  a  conference  which  was  con- 
vened to  attempt  to  work  out  plans 
for  securing  better  support  for 
Unity  Theatre. 

There  was  an  attendance  of 
about  sixty  representing  the  Trade 
Unions,  Political  Parties,  Co- 
operative Organisations  and 

Two  suggestions  were  made  for 
improving  the  liaison  between  the 
Theatre  and  the  Labour  Move- 

1.  A  ))( -rmntu  nt  advisory  committee 
consisting  of  representatives  of  the 
I  in.i,  Unions  and  Political  Parties, 
with    Co-ops,    etc. 

2.  Committee  to  meet  at  the  start  of 
each    production    to   give    pul>licitii 

Hi  i  mn/liiiiit      /In       Limdon      Lalxnu 
and    Trade    Union    movement. 

An  appeal  was  made  for  more 
affiliations,  to  which  the  General 
Council  has  responded  by  affiliat- 
ing  A.C.T.T.   to  Unity. 

Lab  Topics 

Winning  Films 


Honourable  Mention:    Mechanisation  of,  stO(  I.    Farm ing 
Kandom  Film   I  'i  odu<  t  ions  for  Shell- 
Mi  \  and  B.P.  Ltd. 

I'i -inlm-ei     Direelor        Pel  el      Mills. 
Ill   M\\     KKI.ATIONS    IN    INDUSTRY 

1st  Prize     Mi  a  mi  tin   Mi  nd 

British  Transom!    Films  for  British 

Transport    Commission 
I  'i  odui  «  i       Edgar    Anstey.       Direi 
tor:     Kenneth   Fairbairn. 
Honourable  Mention:    llemel  Homestead 
Dexion   Film  Unit    for  Dexion    I     i 
Producer:        Dr.       Peter      Cardew. 
I  lirector      [an    MacPhail. 

W/E       very  much       regret       to 

"    announce  the    death    of    Brian 

Bolt    in    New  Cross    Hospital    on 
October  18th. 

Fred  Cull,  Shop  Steward  at  Pathe, 
Wardour    Street,    writes: 

Brian  Bolt  was  a  very  likeable 
personality  who,  through  his  un- 
failing friendliness  to  everyone 
was  a  popular  member  of  the 
Printing  Room  staff.  He  was  only 
twenty-four  and  he  leaves  a  widow 
and  a  daughter  some  two  years 

About  eighteen  months  ago 
Brian  contracted  a  serious  illness 
and  from  that  time  onwards  there 
began  an  unequal  fight  against 
failing  health.  Periods  in  hospital 
and  attendances  as  an  out-patient, 
interspersed  with  spells  at  work, 
stamped  him  as  a  fighter.  Even 
when  obviously  extremely  ill  he 
still  managed  to  laugh  and  joke 
about   his  misfortune. 


of  the 


will  be  held  on 
FRIDAY   evening,   DEC.   20th, 

at  the 



He  joined  Pathe  as  a  trainee, 
and,  apart  from  two  years  in  the 
R.A.F.,  he  had  worked  con- 
tinuously for  the  firm,  both  in 
Wardour  Street  and  at  Elstree. 

Prior  to  his  illness  he  had  been 
very  fond  of  sport,  playing  both 
football  and  cricket,  and  he  was 
seldom,  if  ever,  absent  from  a 
social  function. 

For  a  time  he  acted  as  Branch 
Secretary  and  also  as  a  member 
of  the  Branch  A.C.T.T.  Committee. 

Brian,  who  will  be  sadly  missed 
by  us  all,  was  buried  in  Crayford 
Parish  Churchyard.  Among  those 
who  attended  the  funeral  were 
Charlie  Day,  Bill  Newman  and 
Fred  Cull  from  Pathe. 

Alec  Garnett  III 

We  regret  to  announce  that  Alec 
Garnett,  of  Kays,  and  formerly  of 
Technicolor,  has  been  ill  in  hospital 
for  over  two  months.  We  wish 
him   a   speedy   recovery. 

Gay  and  Cynical 

"  I  see  from  the  programmes  of 
the  new  National  Film  Theatre 
that  someone  has  dreamed  up  a 
new  movement — 'Captive  Cinema'. 
At  last  the  film  makers  of  England 
have  a  banner  to  which  they  can 
rally  with  a  clear  conscience.'' 
Lindsay  Anderson  in  the  .Ye  if 
SI  a  1 1  stna/n. 


LABORATORY  SUPERINTENDENT  (Film  Processing)  required  by 
Federal  Government  of  Nigeria  for  Film  Production  Unit,  Information 
Service,  on  contract  for  18/24  months  in  first  instance.  Salary  according 
to  experience  in  scale  (including  inducement  addition)  £1,170  rising  to 
£1,488  a  year.  Gratuity  at  rate  £150  a  year.  Outfit  Allowance  £60. 
Liberal  leave  on  full  salary.  Free  passages  for  officer  and  wife.  Grant 
up  to  £150  annually  for  maintenance  of  children  in  U.K.  Free  passages 
for  children  up  to  cost  of  two  adult  return  fares.  (It  is  thus  often  possible 
for  an  officer  whose  children  are  being  educated  in  the  U.K.  to  arrange 
for  them  to  spend  two  more  school  vacations  in  West  Africa  with  free 
passages).  Candidates  must  have  a  thorough  knowledge  of  all  aspects 
of  cine  film  processing  both  16mm.  and  35mm.,  including  negative  cutting 
experience.  The  officer  will  be  required  to  work  with  and  take  over,  as 
required,  from  the  officer  in  charge  of  the  laboratories.  Write  to  the 
Crown  Agents,  4  Millbank,  London,  S.W.I.  State  age,  name  in  block 
letters,  full  qualifications  and  experience  and  quote  M3B/35002/CY. 

December  1957 



General  Council  in  Session 


The  General  Council,  at  its 
November  meeting,  had  before  it 
the  resolutions  of  a  recent  Shorts 
Section  general  meeting;  the  first 
sought  a  meeting  with  the  Asso- 
ciation of  Specialised  Film  Pro- 
ducers "  to  raise  the  question  of 
consolidating  the  cost  of  living 
bonus  into  the  basic  wage  rate." 
The  Executive  and  General  Coun- 
cil agreed  to  press  for  the  meeting 
with  the  employers'  federation. 

On  the  initiative  of  A.C.T.T. 
members  at  Rank  Screen  Services 
Local  Filmlet  Studios,  the  Section 
drew  the  Executive's  attention  to 
the  fact  that  because  Cartoon  and 
Animation  members  have  no  equi- 
valent gradings  in  the  B.F.P.A. 
Agreement,  they  do  not  enjoy  any 
increases  when  doing  TV  or  Adver- 
tising work,  other  than  what  is 
laid  down  in  the  A.S.F.P.  Agree- 
ment; it  was  agreed,  as  a  first  step 
in  overcoming  this  anomaly,  to  ex- 
plore the  possibilities  of  incor- 
porating these  grades  into  the 
B.F.P.A.  Agreement  with  the 
Federation  of  British  Film  Makers 
and  the  B.F.P.A. 

TELEVISION:  A  drive  to  organise 
the  I.T.A.  Transmitters  is  being 
made  and,  when  conditions  permit, 
every  effort  will  be  made  to  organ- 
ise TV  Shops  in  the  B.B.C.;  a 
special  "  B.B.C.  Issue  "  of  the  TV 
bulletin  would  be  prepared  shortly 
after  the  one  which  was  now  at 
the  printers  had  been  sent  out. 

Organiser  Paddy  Leech  reported 
that  a  meeting  had  been  arranged 
between  representatives  of  the 
Union  and  Independent  Television 
News  to  start  talks  on  an  agree- 
ment for  the  film  side  technicians 
who  were  at  present  covered  by 
the  Newsreel  Agreement. 

The  Organiser  had  visited  Chel- 
sea Palace  (Granada  TV),  where 
Shop  Steward  Mike  Roberts  had 
convened  a  meeting  of  members 
and  where  a  considerable  number 
of  technicians  had  been  recruited. 
An  early  meeting  was  sought  with 
the  Station  Manager  of  Television 
West  Wales  to  arrange  for  the 
National  Agreement  to  apply  to 
this  station. 



detailed    report    of    the    last    two 

meetings  of  the  Committee  was 
given  at  which  draft  notes  pre- 
pared by  Sir  Robert  Fraser  on  the 
British  nature  of  television  films 
had  been  considered.  Sir  Robert 
sought  guidance  from  the  meet- 
ings, and  much  progress  had  been 


following  notice  had  been  circu- 
lated by  the  B.F.P.A.  and  F.B.F.M. 
to  their  member  companies: 

The  B.F.P.A.  and  the  Federa- 
tion of  British  Film  Makers  have 
agreed  to  recommend  to  their 
member  companies  that  the 
Christmas  Holidays  for  1957 
should  be  Wednesday,  Thursday, 
and  Friday,  25th,  26th  and  27th 

Employees  who  are  required 
to  work  on  Friday,  21th  Decem- 
ber should  be  given  a  day  off 
in  lieu. 

Companies  who  implement  this 
recommendation  may  wish  to 
secure  an  undertaking  from  em- 
•ployees  that,  in  return  for  the 
additional  day's  holiday  on  the 
Friday,  a  full  day's  work  will  be 
carried  out  on  Tuesday,  24th 

The  Executive  asked  that  this 
matter  be  raised  with  the  other 
employers'  federations,  and  the 
General  Council  heard  that  the 
A.S.F.P.  noted  the  B.F.P.A.- 
F.B.F.M.  circular  and  would  leave 
the  matter  to  individual  Shorts 

registered  on  the  Union's  Employ- 
ment Bureau  as  at  1st  October,  a 
decrease  of  thirty-nine  compared 
with  the  September  figure,  though 
the  Employment  Officer,  Bunny 
Garner,  reported  that  the  figure  of 
unemployed  had  risen  again  since 
then.  Eighty-six  vacancies  were 
filled  by  the  Bureau  during  Sep- 


The  F.  &  G.P.  recommended  that 
the  office  be  authorised  to  deposit 
£1,000  with  the  Irish  Ministry  for 
Industry  and  Commerce,  as  a  pre- 
requisite to  having  a  branch  of 
A.C.T.T.  in  Ireland,  as  required  by 

Irish  law.  The  General  Secretary 
reported  that  an  Organiser  would 
be  visiting  Ireland  within  the  next 
two  or  three  weeks  to  investigate 
and  report  back  to  the  Executive 
Committee  on  the  proposed  Irish 

PRODUCTIONS      LTD.:      It     was 

agreed  that  a  reasonable  number 
of  Indian  technicians  could  be 
employed  while  the  production 
Harry  Black  was  on  location  in 
India  for  a  period  of  eight  or  more 
weeks.  The  Company  had  given  an 
undertaking  that  a  full  A.C.T.T. 
main  shooting  unit  would  be  em- 
ployed on  the  location,  together 
with  an  A.C.T.T.  second  unit  of 
Lighting  Cameraman,  Camera 
Operator,  two  Focus  Pullers,  Clap- 
pers/Loader, Director,  Assistant 
Director,  Stills  Cameraman  and 
Location  Manager.  The  second 
unit  would  be  proceeding  about  1st 
December  and  there  would  be  the 
usual  three-union  location  meeting 


DRAFT  AGREEMENT:  This  docu- 
ment, already  accepted  by  a  well- 
attended  meeting  of  TV  Producer/ 
Directors,  was  presented  to  the 
Executive  which,  after  making 
certain  amendments,  decided  to 
give  detailed  consideration  to  the 
draft  at  a  subsequent  meeting;  the 
following  Executive  meeting  spent 
the  whole  evening  on  this  matter. 
Various  deletions  and  amendments 
were  agreed  and  it  was  also  agreed 
that,  prior  to  submitting  it  to  the 
Programme  Contractors,  the 
amended  draft  should  be  approved 
by  the  General  Council. 

The  Council  considered  the  draft 
agreement  in  detail  and  made  a 
number  of  further  amendments. 
The  document  was  then  unani- 
mously endorsed  for  submission  to 
the  employers. 

WITH  BULGARIA:  The  F.  &  G.P. 

recommended  and  it  was  agreed 
that  we  affiliate  to  the  Society  for 
a  fee  of  10/6d.  per  year.  This 
was  agreed  by  the  Council. 



December  1957 




pi;:-             4 

\    \3 


'   ■■'":\ 

•  • 



HUH  II  I II  'I 

EMMS  LTfl. 

1  «##  see  . . . 

••>>//  oi?er  lOO  copies 
ami  still  spotless" 

Apply  for  free  technical  brochure 

22-25   PORTMAN   CLOSE    ■    BAKER  STREET    ■    LONDON  W.I 

Telephone:    HUNter    0408-9 

Published  by  the  Proprietors,  The  Association  of  Cinematograph,  Television  and  allied  Technicians,  2  Soho 
Square,   London,  and  Printed  by  Watford  Printers  Limited,  Watford.  Herts. 

FILM  and  TV 


\T.T's  25  th  Birthday  Issue 




Association     of     <  iikih.ii 
VoL  24 

No.  160 

allied     Technicians 
PRICE  6d. 



May  1958 

Shell  Films 

The  Shell  Film  Unit  was  founded  in  1933.  Its  documentary  films  are 
known  throughout  the  world;  more  than  3,000  copies  of  current 
productions  are  distributed  annually  overseas.  The  majority  are 
revoiced  in  more  than  a  dozen  languages.  The  Shell  Film  Library 
contains  over  150  films  covering  not  only  every  aspect  of  the  oil 
industry  but  also  many  subjects  directly  or  indirectly  related  to  it. 

Song  of  the  Clouds 

A  colour  film  about  world  civil  aviation  and  the  far-reaching 
organisation  on  which  it  depends. 

Three  recent  Caracas 

productions  An  English  version  of  a  film  made  by  the  Shell  Film  Unit  in 

Venezuela  about  life  in  the  capital  o(  that  country. 



High  Speed  Flight  — 

Part  1 — Approaching  the  Speed  of  Sound 

An  introduction  to  the  problems  of  high  speed  flight. 



Shell  films  can  be  obtained  on  free  loan  by  responsible  organisations 
for  showing  to  non-paying  audiences  in  nearly  ever)  country  in  the  world 
simply  on  application  to  the  local  Shell  Company ,  or  in  Great 
Britain  to  the  Petroleum  Films  Bureau,  29  New  Bond  Street,  London,  IV. 1. 

May  1958  FILM    «    TV    TECHNICIAN  fl»  i»r  oi  Modm 


Wherever  there's 
show  business 



for  know  how 
and  show  how.  .  . 



May  1958 



welcome  the  opportunity  to  send 


to  two  hundred  and  fifty  members  of  A  C  T  T 

who  at  one  time  or  another  have  given  us  their  help 

The  Companies  in  Membership 

of  the 
Association  of  Specialised  Film  Producers 


Best  Wishes  to  all 

Technicians  engaged  in  making  British  Films 

May  1958 



The  finest  cranes  are 


"  Big  Bill  "  camera  crane 

Electrically  driven  and  is  suitable 

for  black  and  white  or  colour 


Can  be  used  with  or  without  tracks. 

Easy  to  handle  and  can  manoeuvre 

very  easily. 

The  turret  head  can  operate  through 

360  degrees. 

The  lens  of  camera  can  be  raised 

from  3'  6"  to  16'  0". 

Requires  only  four  men  to  operate  it. 

"Academy  "  camera  crane 

Electrically  driven  and  adapted 

for  TV. 

Can  be  used  with  or  without  tracks. 

It  will  pass  through  an  average 

doorway  3'  6",  and  is  driven  by 

a  HOv  DC.  5  H.P.  motor. 

Provides  a  lens  height  from  2'  6"  to 

10'  6"  from  the  floor. 

It  can  pann  around  camera  axis 

340  degrees. 

"  Baby  "  camera  crane 

For  black  and  white  or  colour 


Battery  driven  and  can  be  operated 

in  studio  or  on  location. 

Can  be  used  with  or  without  tracks 

in  the  studio  —  providing 

the  floor  is  in  good  condition. 

On  location,  tracks  are  a  necessity. 

Small  enough  to  be  driven  through  an 

average  size  door. 

Improved  turret  head  can  operate 

through  360  degrees. 

Requires  only  two  men  to  operate  it. 

Enquiries  to  Miss  M.  Haselwood,  Transatlantic  Pictures  Corporation  Limited,  36  Golden  Square,  W.l.    REGent  8080 



May  1958 


Associated-Rediffusion,  as  the  pioneers  of  Independent 
relevision  in  Great  Britain,  have  today,  after  only 
• '  yi  .us.  the  leading  tv  facilities  in  the  world. 

A  mobile,  miniature  tv  camera,  nicknamed  the  'Peepie- 
(  Ireepie',  is  our  latest  piece  of  equipment.  It  can  transmil 
from  places  hitherto  inaccessible  to  a  TV  camera. 

As  a  result  of  up-to-date  technique  and  equipment, 
we  can  transmit  to  the  London  area  and  the  full  ity  net- 
work the  best  possible  programmes  both  technically 
and  artistically. 


pioneer  the  best  TV  techniques 

May  1958 







71    DEAN    STREET,    LONDON,    W.I 

TELEPHONE:    GERrard    0831-5 


Bob  Betteley  Eric  Pask 

Eric  Davidson  Peter  Pickering 

Langton  Gould-Marks  Sally  Presley 

Francis  Gysin  Ken  Reeves 

Rolf  Hermelin  W.  Suschitzky 

Robert  Kruger  Derek  Witham 

send  their  best  Wishes  and 

heartiest  Congratulations 





A  bolex  h  16,  two  Kodak  B  cameras,  G.B.  622  and  630 
projectors,  with  all  lenses  to  4  in.,  most  in  duplicate,  a  9  -5mm. 
projector,  an  animated  viewer,  titlcr,  recorder  and  various 
screens...  This  is  one  amateur's  equipment,  mentioned  in  the 
April  issue  of  AMATEUR  CINE  WORLD.  In  the  May  issue  : 
articles  on  making  an  electric  motor  drive  for  a  Bolex  tor  less 
than  30s.,  and  instructions  for  constructing  a  developing  tank 
out  of  a  vegetable  rack  and  a  waste  bin 

It  is  this  almost  breath-taking  variety  which  makes 
AMATEUR  CINE  WORLD  such  intriguing  reading.  And 
the  professional  film  maker  often  finds  interest  and  entertain- 
ment in  this  catholocity  of  approach,  since  it  can  keep  him 
informed  on  aspects  normally  outside  his  province. 

Also  in  the  May  issue:  full  results  (13  pages)  of  the 
Amateur  Cine  World  Ten  Best  Films  competition  -  the  most 
famous  amateur  film  contest  in  the  world. 


National  Film  Theatre 

Part  1,  21st  -  25th  May;  Part  2,  11th  June  -  15th  June 

Seats  2s.  6d.,  3s.  6d.,  4s.  and  5s. 

all  bookable,  from  box  office  (WAT  3232) 

AMATEUR  CINE  WORLD,  2s.  (over  100  pages)  from  news- 
agents and  photographic  dealers,  is  published  on  the  25th  of 
the   month   from    46  -  47  CHANCE  RY    LANE   ■    LONDON    WC2 

2  I  s 


May  1958 



20  Kw  Studio  lamps 

The  new  Mazda  20  Kw.  Studio  Lamp  is  now  available  for 
immediate  delivery  ex  stock.  This  lamp  has  been 
designed  in  conjunction  with  Mole  Richardson  for  use 
in  their  studio  spot  and  floodlight  housing. 


The  Mazda  20  Kw.  lamp  is  supplied  for  it  <: . 
operation  and  is  also  available  for  2301.,  240V. 
and  250V.  supplies.  Ir  provides  light  a!  3250  K 
and  is  an  addition  10  the  range  of  2  Km., 
5  K.  i.  and  to  Kw.  Mazda  Studio  Lamps. 



May  1958  FILM    &    TV    TECHNICIAN  249 

1896-      u(£)>      -1958 

Csor  b2  years  we  hare  been  making  L.  inematoora/m  C  cfuifiment 
at  L  amden  CzJown,  which/  so  our  customers  inform  us,  whether  for 
ClJroductiou,   Csroccsstuo  or   for       'rojectiou,  has   always  had   a    certain 

something       about    it   thai    readily    identifies    it   as   oeino   of         liloy 

(_Jlus  we  hare  always  accepted  as  a  compliment,  of  which,  c/iute 
frankly,  we  are  rather  foroudi  and  our  constant  endeavour  will  be  to 
lire    up   to   this   longstanding   reputation    for   many  years   to   come. 

ERNEST    F.    MOY,    LTD. 





takes  this  opportunity  oj  extending  to  all  its 
Friends  in  the  Industry 









May  1958 

The  Single-lamp  Technique — 

A    NEW    20kw    SPOTLIGHT! 







The  Hen  MR  Typi  20,000  20kw  Studio  Illuminator,  with  rear- 
opening  lamphouse,  24-inch  lens  and  sound-proofed  blower  to  stop 
bulb  blistering.     The    whole   lain  /mouse   slays   cool  to  the   touch. 

Look  at  these  Features: 

1.  Scientifically  designed  ventilation     natural  convec- 
tion plus  silenced  blower. 

2.  Simplicity   of  opening  even   when   at   an   angle   of 
45  deg. 

3.  No  danger  of  damaging   bulb   when   removing   for 

4.  Easy  access  to  all  moving  parts. 

5.  At-a-glance  examination  of  bipost  contacts. 

6.  Contacts  fully  floating  yet  bulb  rigidly  held  in 
focal  position  at  all  angles. 

More  and  more  the  technique  of 
studio  lighting  veers  towards  the  use 
of  a  single  lamp  as  the  main  source. 
Only  by  this  means  is  it  possible  to 
secure  correctly  lit  studio  exteriors. 

During  the  last  six  months  over  100 
of  the  new  M.R.  10  k.w.  lamps  have 
been  supplied.  We  now  offer  a  lamp 
specially  designed  for  this  technique 
—the  Type  20,000  20  kw. 



7.  More  robust     easy  maintenance. 

8.  New  style  finish. 







\IK  Typt    10,000  RO  \0k«    Studio  Illuminator,  also 
with  rear-opening  lamphouse  and  with  20-inch  lent. 


CHASE  ROAD,  LONDON,  N.W.  10   .   ELGar6834    .   Cables:  Molereng,  England 

Branch  Companies  in  PARIS.  ROME,  MADRID.  MUNICH 

Agents  and  Representatives  in  many  other  countries 

May  1958 





Anthony  Asquith 

\  DELIGHTFUL  old  lady  I  knew  was  left  to  play 
with  a  small  boy  of  four  by  his  mother  who 
murmured  apologetically  something  about  his  being 
"  very  young  ".  The  boy  overheard  the  words  and 
was  puzzled  by  them.  "  Are  you  very  young  too?  " 
he  asked  my  old  friend.  "  Yes,"  she  answered,  "  but 
I've  been  very  young  for  a  very  long  time." 

To  be  able  to  say  this  with  perfect  truth,  as  she 
was,  seems  to  me  a  most  desirable  thing  not  only 
for  people,  but  for  organisations.  The  recent  dupli- 
cation of  its  final  "  T "  ensures  that  A.C.T.T. 
remains  the  youngest  union  affiliated  to  the  T.U.C. 
But  even  without  the  help  of  our  splendid  new  tail 
feathers,  we  have  been  very  young  for  twenty-five 
years — a  respectable  span  in  the  life  of  any  union. 
And  I  think  we  can  claim  without  immodesty  that 
we  have  stayed  young  without  ceasing  to  grow  with 
extraordinary  rapidity  in  physical  strength,  but  also, 
I  believe,  in  the  capacity  which  is  the  fruit  of  the 
ability  to  learn  from  experience. 

Our  is  not — and  must  never  be — the  youth  of 
arrested  development,  where  a  huge  unwieldy  body 
pathetically  and  flabbily  encases  a  pin-head  of 
intelligence.  Nor,  when  the  next  twenty-five  years 
have  passed,  may  our  youth  have  become  that 
"  second  childhood "  due  to  the  hardening  of  the 
imaginative  arteries,  which  springs  from  the  meticu- 
lous preservation  of  the  letter  of  tradition,  without 
in  the  least  understanding  their  spirit  or  intentions. 

A  living  tradition  is  ours  which  continuously  re- 
news and  changes  its  outward  expression.  It  is  an 
oxygen  tent  not  a  strait-jacket.  There  is  nothing 
more  tragic,  than  when  a  living  stream  is  fossilized 
into  a  stalagmite.  It  may  be  beautiful  but  you  can- 
not drink  from  it. 

Now  I  do  not  believe  that  A.C.T.T.  is  in  danger  of 
its  youth  suffering  from  either  of  these  perversions 
as  long  as  we  remain  what  our  title  proclaims  us 
to  be,  an  association  of  technicians,  a  comradeship 
of  craftsmen,  each  of  whom  in  his  own  way  is  con- 
tributing to  produce  the  same  unique  thing.  It  is 
true   that  our   "  end-product  "    may   fall   into    many 

different  categories,  ranging  from  the  three-hour 
feature  film  to  the  thirty-second  advertisement 
"  snip  ",  from  the  full-length  television  play  to  the 
usually  depressing  weather  forecast.  But  all  these 
have  one  thing  in  common — visual  and  aural  com- 
munication, indeed  our  craft,  and  only  ours,  is  con- 
cerned with  the  most  powerful  and,  with  the 
possible  exception  of  music,  the  most  universal 
medium  of  communication  yet  devised  by  the  mind 
of  man. 

Because  of  this,  as  a  Union  we  bear  a  double 
responsibility — a  responsibility  to  our  members  for 
their  pay,  their  conditions  of  work  and  their  general 
well-being,  and  a  responsibility  to  our  craft  and, 
through  it,  to  Society  as  a  whole.  The  value  of  our 
end  product  varies  as  greatly  as  the  forms  it  takes. 
Very  occasionally  we  produce  something  which  can 
justly  claim  to  be  a  work  of  art,  something,  that  is, 
which  is  of  lasting  value.  Quite  often  we  produce 
good  entertainment  I  in  case  of  misunderstanding 
I  would  like  to  emphasize  as  strongly  as  I  can  that 
I  believe  the  common  distinction  between  art  and 
entertainment  to  be  utterly  false.  A  work  can  be 
entertaining  without  being  a  work  of  art,  but  no 
work  can  be  a  work  of  art  without  being  also 
entertaining.  The  difference  is  that  the  passage  of 
time  does  not  diminish,  it  may  even  increase,  the 
power  of  the  true  work  of  art  to  entertain,  i  We 
also  produce  works  which,  though  essential,  are  by 
their  very  nature  of  only  temporary  significance, 
news  items,  topical  discussions,  etc.  And  alas !  we 
also  produce  a  large  amount  of  unspeakable  tripe. 

As  an  individual  craftsman,  it  must  be  the 
pride  of  each  of  our  members  to  do  his  particular 
job  as  well  as  he  can.  But  as  a  union  it  should 
just  as  surely  be  our  duty,  not  only  to  safeguard 
and  enhance  the  material  well-being  of  our  members, 
but  to  use  all  our  influence  to  see  that  their  skill  is 
used  on  something  worth  doing.  This  has  always 
been  a  guiding  principle  in  A.C.T.T.,  and  as  long  as 
it  remains  so,  I  believe  that  we  will,  in  the  best 
sense  of  the  word,  go  on  being  very  young  for  a 
very  long  time. 

Sir  Michael  Balcon  on  Features  .  Page  252  Desmond  Davis  on  Television  .    .  Page  268 

Thorold  Dickinson  on  U.N.  Films  Page  265  Bert  Craih  on  the  Laboratories    .  Page  271 

Sir  Arthur  Elton,  Bt.,  on  Documentary     .     Page  262 


Along  the  Mole  troops,  waiting  evacuation  from  Dunkirk,  press  back  OS 
the  wooden  structure  disintegrates 





"  Wc  ntuxt   reconsider  out    whoh 

approach    to    film   production    in 

rt  !at  i"ii  to  content." 

THE  Association's  25th  anniver- 
sary has  an  especial  interest  for 
me  since,  although  my  own  film 
career  is  longer,  it  so  happens  that 
the  life  of  the  A.C.T.T.  corresponds 
to  some  extent  with  what  I  might 
call  the  second  stage  of  my  in- 
dustry life  —  the  period  with 

I  am  asked  to  write,  however, 
about  the  development  of  feature 
films  during  the  life  of  the  Asso- 
ciation, which  means  that  I  am 
dealing  also  with  that  period  of 
about  five  years  before  I  joined 

Well — 1933  was  a  period  of  high 
hope.  Under  the  aegis  of  Mr. 
Isidore  Ostrer  and  his  brothers,  the 
activities  of  the  then  Gaumont- 
British  Corporation  were  of  an  ex- 
pansionist nature  in  that  the  new 
additions  to  Shepherds  Bush 
Studios  had  been  completed  and 
we  were  embarking  on  a  large  pro- 
gramme of  films  with  which  we 
aimed  to  conquer  the  world's 

It  i.-'  perhaps  Interesting  to  re- 
member that  at  that  time  there 
were  not  nearly  enough  trained 
technicians  In  the  country.  But  we 
had  no  difficulty  in  importing  first- 
class  men  from  the  United  States 

and  from  Europe  1 1  have  in  mind 
such  outstanding  technicians  as 
Georges  Perinal.  Max  Greene,  Glen 
McWilliams,  Otto  Ludwig.  Gunther 
Krampf  and  many  others)  and  I 
think  we  must,  to  some  extent,  be 
grateful  to  them  for  helping  to 
train  some  of  the  British  personnel 
who  were  to  become  the  backbone 
of  our  industry.  Early  apprentice- 
ship schemes  were  also  established, 
including  classes  at  the  technical 
school  near  the  studio,  principally 
for  the  training  of  make-up  artists. 

They  were  in  some  respects  good 
days  and,  on  looking  back,  I  re- 
member with  affection  such  films 
as  Jack's  tin  Boy,  Man  nf  Aran, 
Rome  Express,  Tin  Midshipmaid 
and  The  Good  Companions. 

Alas,  our  fondest  hopes  w<  i 
dashed  to  the  ground.  We  failed 
to  conquer  the  American  market 
and  round  about  1936-37  we  were 
faced  with  one  of  our  earlier  crises 
The  pity  of  it  was  that  this  was  m 
some  respects  a  vantage  period  for 
British  films,  with  stars  like  Jack 
Hulbert,  Cicelj  Courtncidgc. 
Conrad  Veidt,  Jessie  Matthew.-'. 
Tom  Walls — to  mention  but  a  few 
— at  the  peak  of  their  success. 

There  is  no  doubt  that  since  its 
foundation     the     Association     has 

May  1958 



done  a  great  deal  for  the  working 
conditions  of  its  members,  but  I 
hope  I  am  not  committing  a  heresy 
in  saying  that  up  to  1933  (the  year 
your  Union  came  into  operation) 
and  in  fact  in  the  immediate  years 
following  we  did  not  really  have 
much  cause  to  grumble  at  our  lot 
at  Shepherds  Bush. 

All  was  not  well,  however, 
despite  the  excitement  we  felt 
about  our  work  in  those  days.  We 
had  not  made  the  progress  we  had 
anticipated  in  the  creation  of  a 
native  school  of  film  production. 
Many  of  the  films  (with  notable 
exceptions,  of  course)  even  if  they 
were  not  slavish  copies  of  the 
American  type  of  picture,  could 
have  been  better  made  in  Holly- 
wood. There  was  even  a  period 
when  we  fell  for  the  idea  that  the 
importation  of  American  stars, 
directors  and  American-type 
stories  would  somehow  provide  the 
necessary  ingredients  for  conquer- 
ing the  American  market  and  pro- 
ducing vast  revenues.  It  was  a 
mirage — nor  did  we  make  any 
great  impression  in  any  market 

Their  Own   Idiom 

It  was  not  until  the  war  period 
that  the  British  feature  films  began 
to  express  themselves  in  their  own 
idiom  (the  British  documentary,  to 
its  everlasting  credit,  had  already 
done  so,  and  I  still  look  upon  the 
work  of  the  early  documentary 
units  as  being  the  greatest  single 
influence  in  British  film  produc- 

Naturally  one  thinks  back  on 
one's  own  work,  and  the  immediate 
post-war  years  at  Ealing  Studios 
were  spent  under  ideal  working 
conditions,  and  produced,  I  think, 
not  only  a  typical  Ealing  picture 
but  something  that  was  indigenous 
in  its  conception — and  proof  posi- 
tive of  your  President's  belief  that 
the  truly  international  picture  is 
the  film  of  national  appeal. 

We  are  always  hearing  about 
crises  in  the  film  industry.  Each 
one  I  have  experienced  in  more 
than  thirty  years  in  the  business 
has  been  heralded  as  another  nail 
in  the  industry's  coffin.  Each  time, 
however,  the  film  industry  has 
risen  again  and  found  a  fresh  and 
stronger  voice  in  the  world. 

As  I  look  back  over  the  last  few 
years — and  I  recall  that  there  was 
yet  another  "  crisis "  in  1949 — I 
must  say  that  I  consider  some 
ground  has  been  lost  in  feature 
film  production.  Although  for 
some  time  we  have  been  facing 
falling  returns,  the  inflationary 
pattern  in  production  still  con- 
tinues.     In    fact    there    is    some 

parallel  with  the  situation  in 
America,  described  not  very  long 
ago  by  a  well-known  commentator 
in  these  words :  "  The  motion 
picture  industry  has  functioned 
without  noticeable  adjustments  to 
economic  realities  .  .  .  for  four 

In  a  sense,  of  course,  the  end  of 
the  silent   picture  was  the  end  of 

to  the  shorter  working  week)  but — 
and  this  is  infinitely  more  impor- 
tant— in  relation  to  content. 

We  must  realise  that  we  have 
a  different,  younger  population 
who  are  intelligent  and  capable 
enough  to  respond  to  our  films  pro- 
vided we  deal  with  subjects  that 
are  of  vital  importance  and  in- 
terest to  them. 

Sir   Michael   Balcon,   producer   of   "  Dunkirk ",   chats   with   director 
Leslie  Norman  and  star  John  Mills 

an  era  and  it  may  well  be  that  we 
are  moving  into  something  of  a 
similar  nature  today. 

There  is  much  adjustment  which 
needs  take  place  and  much  of  it 
is  self-adjustment.  It  is  no  use  our 
saying  that  the  responsibility  for 
our  present  troubles  lies  exclu- 
sively with  television  or  the  ex- 
hibition or  distribution  side  of  the 
film  industry.  Although  many 
changes  must  inevitably  take  place 
there,  we  must  be  thoroughly  intro- 
spective and  see  what  we  ourselves 
can  do. 

The  easy  solution  is  not  the  em- 
ployment of  gimmicks,  whether  in 
the  technical  developments  of 
screen  dimension  or  negative  size, 
or  the  production  of  horror  or  sex 

We  must  reconsider  our  whole 
approach  to  film  production  not 
only  in  relation  to  shooting 
schedules  (which  in  the  lifetime 
of  the  Association  have  increased 
in  many  cases  far  out  of  proportion 

Much  has  happened  in  these 
twenty-five  years.  We  have  seen 
the  gradual  concentration  of  film 
production  in  the  four  main  studio 
centres,  Pinewood,  Shepperton, 
Elstree  and  Boreham  Wood,  and  in 
the  more  recent  years,  the  signifi- 
cant development  of  Anglo-Ameri- 
can production. 

We  have  seen  also  the  establish- 
ment of  the  National  Film  Finance 
Corporation  and  a  statutory  pro- 
duction levy.  During  the  life  of 
the  Association  taxation  on  the  in- 
dustry has  developed  from  the 
punitive  to  the  lethal;  and,  to  his 
everlasting  credit,  John  Davis  for 
the  first  time  in  British  film  history 
has  built  up  a  world  selling  organi- 
sation of  significant  proportions. 

We  have  witnessed  the  develop- 
ment of  another  great  medium  of 
mass  communication  and  enter- 
tainment. I  would  not,  however, 
like  to  forecast  the  pattern  of  film 
production  over  the  next  twenty- 
five  years ! 



May  195S 



A  film  iij  the  Expedition 
t  urn  iiii.s.snuii  il  hit  the 
linlish  Petroleum  Co. 
Ltd.  is  being  made  by 
World  Wide  Pictures 
and  will  be  ready  for 
showing  m  the  autumn. 




On     Right:     "LAB    TOPICS" 

May  1958 




Above:       '  ROC  KN       ROLL '      TRAPPED       IN      A 
CREVASSE.  Left:    PROBING    FOR    A    SAFE 

PATH.  Below:    GEORGE    AND    SOME    GEAR 

Pictures  by  courtesy  of  the  Trans-Antarctic 



May  1958 

Pattern  for  the  Future 


I  DOUBTLESS  because  he  is  aware 
'-'of  the  thin  dividing  line  be- 
tween dotage  and  anecdotage,  the 
Editor  suggested  I  might  in  this 
article  look  forward  rather  than 
backward,  leaving  review  of  the 
past  twenty-five  years  to  other 

The  only  major  change  in  the 
pattern  of  our  Union  over  the  past 
quarter  of  a  century  has  been  the 
development  of  television  and  the 
slight  shrinkage  in  the  influence 
of  feature  film  production.  Where- 
as in  the  early  days  our  member- 
ship was  primarily  composed  of 
technicians  engaged  in  feature 
films,  their  numbers  now  are  only 
about   one-sixth   of   the   total. 

Expansion    of    Documentary 

There  has  been  expansion  on  the 
shorts  and  documentary  side  pri- 
marily due  to  development  in  the 
non-theatrical  use  of  films,  and 
there  has,  of  course,  been  an  ex- 
pansion in  our  laboratory  section 
which  we  started  to  recruit  a  year 
or  so  after  we  were  formed  and 
which  has  subsequently  become  a 
very  substantial  proportion  of  our 

There  has,  on  the  other  hand, 
been  a  shrinkage  in  newsrecl  mem- 
bership as  a  result  of  the  virtual 
demise  of  two  of  the  five  News- 

This  year's  Annual  General 
Meeting  is  the  first  year  when  all 
these  varying  changes  have  be- 
come really  noticeable.  I  don't 
think  it  needs  a  very  accurate 
crystal  ball  to  prophesy  that 
twenty-five  years  hence  there  will 
be  many  more  shifts  of  balance 
within  the  Union  by  reason  of 
changes  in  films  and  television 
than  there  have  been  in  our  first 
twenty-five  years. 

For  a  start,  unless  they  wake  up 
their  ideas  and  put  out  pro- 
grammes which  the  public  will 
clamour  to  see,  it  is  virtually  cer- 
tain there  will  be  no  cinema  news- 
reels  twenty  five  years  hence  and 
this  is  almost  sure  to  have  some 
repercussions     on      the      laboratory 

side   particularly   in    those   labora- 
tories which   do  newsreel  work. 

On  the  other  hand,  there  may 
well  be  a  development  in  television 
newsreels  and  therefore  within  the 
union  as  a  whole  the  shake  up  may 
not  be  very  substantial.  Although 
here,  too,  recent  developments 
such  as  tape  recorded  television 
indicate  that  television  newsreels 
may  function  without  the  neces- 
sity of  laboratory  processing. 

We  are  certain,  of  course,  to 
have  developments  and  expansion 
in  television  and  it  is  likely  that 
before  long  the  Government  of  the 
day  will  introduce  legislation  to 
establish  competitive  television 
channels.  Whether  they  will  be 
administered  by  the  B.B.C.  or  by 
Independent  Television  or  by  some 
new  third  body  is  much  more 
problematical.  But  in  any  case  we 
can  look  forward  to  an  expanding 

Must  Wake   Up 

The  cinema  side  is  much  more 
problematical  but  I  am  not  one  of 
those  Jeremiahs  who  foresee  the 
demise  of  the  cinema  in  favour  of 
television,  as  at  least  one  Govern- 
ment spokesman  who  recently  re- 
ceived a  deputation  from  A.C.T.T. 
seemed  to  do.  At  the  same  time, 
unless  the  film  industry  wakes  up 
its  ideas  it  is  sure  to  go  through 
continuing  difficulties  despite  the 
tax  relief  granted  in  this  year's 
budget  and,  we  hope,  the  com- 
plete abolition  of  th<  tax  next  year 
if  it  cannot  be  forced  through 

But  while  tax  relief,  or  prefer- 
ably abolition,  for  which  we  must 
continue  to  fight,  will  mean  the 
removal  of  a  great  injustice  for 
the  film  industry,  that  by  itself 
will  not  necessarily  lead  to  any 
benefits  either  to  the  public,  to 
production  as  a  whole  or  to  the 
employees  in  the  industry.  If,  as 
our  President  said  in  his  Address 
to  the  Annual  General  Meeting, 
tax  relief  is  used  simply  to  bolster 
profits  or  buttress  losses  we  are 
merely     putting    off    the    evil    day 

when   a  large  shake-up  must  take 
nlace  in  the  British  film  industry. 

Cinemas,  if  they  are  to  stay  in 
business,  must  be  modernised  and 
those  who  control  production 
must  stop  playing  fast  and  loose 
with  the  livelihood  of  their  em- 
ployees and  settle  down  to  a  broad 
expansionist    policy. 

The  present  crisis  is  a  challenge 
to  British  producers.  While  re- 
turns generally  are  down  it  is 
significant  that  British  films  con- 
tinue to  attract  more  money  to  the 
box  office  than  foreign  films. 

Expand   Production 

One  of  the  steps  which  should  be 
taken  in  order  to  overcome  the  In- 
dustry's difficulties  would  be  an 
expansion  of  production  instead  of 
the  foolish  contraction  which  re- 
cently took  place  in  certain 

One  thing  is  certain,  though 
some  people  do  not  appear  to 
appreciate  it,  namely,  that  unless 
films  are  made  and  made  available 
for  showing,  nothing  on  earth  will 
attract  the  public  back  to  the 

An  analysis  of  the  output  of  the 
leading  directors  of  the  British 
film  industry  would  show  that, 
through  no  fault  of  their  own. 
then  output  is  at  a  very  much 
lower  level  than  that  of  leading 
directors  in  other  countries.  There 
is  an  obvious  case  in  point.  At  the 
very  time  when  our  own  Presi- 
dent's last  film,  Orders  to  Kill,  was 
being  acclaimed  and  indeed  re- 
ceiving rave  notices  in  the  British 
press,  his  employers  were  busy 
cancelling  his  next  production,  an 
experience  which  he  and  other 
leading  directors  have  suffered  all 
too  frequently  in  recent  years. 

We  must  stop  for  all  time  this 
sorry  business  of  British  produc- 
tion being  used  as  a  pawn  in  the 
game  which  cinema  owners  play 
with  the  Government  and  others 
on  whom  they  wish  to  exert 

At  times  1  almost  despair  of 
British    exhibitors    acting    intelli- 

May  1958 



gently.  It  was  Sir  Alexander 
Korda  who  said  years  ago  that  no 
film  has  ever  earned  its  full  poten- 
tial from  the  box  office.  How 
right  he  was.  Exhibitors  continue 
to  have  this  silly  policy  of  films 
running  for  one  week  or  three  days 
and  seldom  longer  because  of  an 
antiquated   booking  policy. 

Why  is  it,   for  example,   that   in 

As  a  leading  projectionist  said 
at  a  recent  inter-union  meeting, 
a  few  are  quite  happy  to  drop  out 
reels  two  and  seven  of  a  support- 
ing film  in  order  to  make  sure  that 
nothing  interferes  with  their 
slavish  adherence  to  such  time- 

Why  is  it  that  apart  from  the 
development    in    the    sales    of    ice 

other  when  one  of  the  major  cir- 
cuits has  an  outstanding  film  the 
other  circuit  also  has  to  show  a 
real  top-notcher  so  that,  as  mem- 
bers of  the  public  have  said  to  me, 
it  is  impossible  to  plan  one's 
cinema  going.  One  has  to  go  two 
or  three  times  in  one  week  in  a 
month  and  then  may  very  well 
wish  to  skip  the  remaining  weeks. 


IS"  I     to   -HH^r 

Qeriificttit  of  Registry  of  Trad*    I 

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tifteci  that  +kr? 

hi    Trade  ! 

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Register  No.         !1%£       '! 



11  f 

10  33- 

Copy  h  ■  : 

f\    / 

The  official  entry   recording  the  foundation  of  the   Union 

(Jhhj  K-'j)  ■>'■■(' , 

the  large  seaside  towns  where  the 
public  is  changing  each  week 
throughout  the  summer  we  can 
have  plays  and  variety  pro- 
grammes running  unchanged 
throughout  the  whole  season, 
whereas  the  same  treatment  is 
seldom  accorded  to  a  film  ? 

Why  is  it  that  cheap  morning 
matinees  which  were  quite  a 
feature  of  film  exhibition  in  Lon- 
don and  similar  large  cities  before 
the  war  are  no  longer  operated? 
If  the  answer  is  financial,  why 
aren't  other  means  sought  to  cater 
for  those  numerous  members  of 
the  public  who  cannot  go  to  the 
cinema  in  normal  times  because 
they   are   working? 

Why  is  it  that  exhibitors 
slavishly  stick  to  their  routine  of 
opening   and    closing    times? 

cream  nothing  has  been  done  in 
recent  years  to  help  attract 
patrons  back  to  the  cinemas  ?  Why 
is  it  that,  so  many  a  parent  tells 
me,  films  at  school  holiday  times 
are  frequently  of  such  a  character 
that  children  cannot  go  to  them 
or  at  least  have  to  be  accompanied 
by  adults?  Surely  cinemas  can 
find  out  intelligently  in  advance 
what  the  school  holidays  are  and 
plan  their  programmes  accord- 

Why  is  it  too  that  if  by  reason 
of  diabolical  weather  or  some 
other  special  cause  a  film  which 
is  expected  to  attract  the  crowds 
has  a  rough  time  on  its  first  time 
round  such  film  seldom  comes  back 
again  to  catch  the  public  which 
under  normal  circumstances  it 
would  have  had?  Why  is  it,  too, 
that  in  order  to  compete  with  each 

Members  can,  I  am  sure,  think 
of  many  other  examples  of  unen- 
lightened policy  of  the  cinema 
owners  and  the  first  thing  they 
must  learn  if  they  wish  to  stay  in 
business  is  that  they  must  com- 
pletely reorientate   their  ideas. 

There  is  another  point  which 
needs  airing.  The  National  Film 
Finance  Corporation  has  rendered 
valuable  service  to  British  Film 
Production  and  indeed  without  it 
there  would  be  no  independent  pro- 
duction today.  Now  it  seems  to  be 
getting  in  a  groove.  On  a  short- 
term  basis  it  seems  to  be  running 
out  of  money  and  unless  the 
Government  acts  quickly,  the 
N.F.F.C.  may  not  be  able  to 
finance  all  the  worthwhile  inde- 
pendent     productions       which       it 

(Continued  on  page  259) 



May  1958 









I  //'//'////////'  //.J 


C  //       //'  /// 


////// V  /.;///// 



May  1958 





would  wish  to  finance  in  the  near 
future.  On  a  long-term  basis  it 
should  have  both  sufficient  capital 
and  powers  to  act  as  a  kind  of 
cushion  to  the  vicissitudes  of  pro- 

Whenever  there  is  some  tempor- 
ary crisis  in  films  that  may  be 
caused  by  outside  dictates  over 
which  it  has  no  control,  for  ex- 
ample, the  recent  changes  in  the 
Bank  Rate  which  have  added 
burdens  to  independent  producers 
and  indeed  to  the  bigger  com- 
panies as  well,  it  is  surely  the  job 
of  the  N.F.F.C.  to  buttress  produc- 
tion to  make  sure  that  the  in- 
dustry is  able  to  overcome  such 

Target  for  Industry 

What  I  would  like  to  see  is  some 
kind  of  annual  budget  or  target  in 
which  the  industry  sets  out  to 
make  a  stipulated  number  of 
films  each  year,  preferably  on 
a  rising  scale.  It  should  be  a 
prime  job  of  the  N.F.F.C.  to  play 
a  prominent  part  in  ensuring  that 
such  a  target  is  met.  It  should 
also  have  power  to  take  over  pro- 
ductions which,  whether  for  wise 
or  foolish  reasons,  are  about  to  be 
cancelled  by  producers  so  that  we 
avoid  the  sort  of  experience  which 
has  been  suffered  at  Pinewood 
recently,  when  no  one  has  known 
whether  the  productions  on  which 
they  commence  work  were  likely 
to  be  completed  or  not. 

There  is  another  aspect  of  the 
future  to  which  we  shall  have  to 
give  considerable  thought  long 
before  the  next  quarter  of  a 
century  has  expired.  The  British 
Government  is  shortly  entering 
into  discussions  with  European 
Governments  on  the  part  which 
films  could  or  should  play  in  a 
European  Common  Market. 

A.C.T.T.  has  not  yet  discussed 
this  and  I  would  not  like  to  pro- 
phesy what  its  attitude  would  be, 
but  I  anticipate  it  will  be  along 
the  lines  that,  while  it  would  wel- 
come co-operation  between  the 
British  industry  and  continental 
industries  to  protect  and  help  each 
other,  it  would  strongly  oppose 
any  move  which  would  seek  to  re- 
place British  film  production  by 
continental  production  or  by  co- 

I  have  talked  to  many  people 
both  in  France  and  Italy  on  the 
co-production  scheme  which  has 
operated  between  those  two 
countries  for  the  past  few  years. 

The  scheme  got  off  to  a  good  start 
and  it  is  possible  there  was  initial 
expansion  of  production  in  both 
countries,  but  now  there  are  many 
in  those  two  countries  who  are 
opposed  to  it,  partly  because  the 
concentration  on  reduced  pro- 
duction costs,  upon  which  emphasis 
has  been  laid  in  the  schemes,  has 
not  led  to  the  production  of  either 
outstanding  films  or  indeed  films 
which  have  managed  to  recoup 
their  cost  of  production.  False 
economy  in  production  is  no  econ- 
omy at  all. 

It  is  quite  clear,  too,  that  only 
certain  types  of  stories  are  suited 
to  co-production  and  even  then 
there  has  to  be  meticulous  care  in 
all  facets  of  making  the  film  itself. 
We  must  at  all  costs  avoid  making 
films  the  object  of  which  is,  for 
example,  simply  to  substitute 
French  for  British  labour  or 
British  for  Italian  labour,  irres- 
pective of  the  story  to  be  filmed. 

On  the  other  hand  some  form  of 
European  Common  Market  would 
be  worthwhile  if  it  were  used  to 
stimulate  development  of  native 
productions  in  each  country  and  to 
restrict  the  amount  of  screen  time 
which  is  at  present  commandeered 
by  American  productions. 

Must  Co-operate  With  TV 

Above  all,  films  must  reach  a 
modus  vivendi  with  television.  It 
is  significant  that,  after  the  initial 
hostility  of  films  to  television,  a 
number  of  the  leading  film 
interests  are  now  directly  con- 
cerned in  operating  television 
stations.  As  long  as  we  realise 
that  basically  the  type  of  pro- 
duction which  is  most  suited  to  ex- 
hibition in  cinemas  is  not  the  type 
of  production  which  is  best  suited 
to  the  television  screen  there  is  no 
reason  at  all  why  there  cannot  be 
fruitful  co-operation  between  the 
two  media. 

Turning  to  television,  the  future 
is  far  less  uncertain.  As  long  as 
the  public  continue  to  buy  tele- 
vision sets  in  increasing  numbers 
so  we  are  almost  sure  to  have  an 
expanding  industry.  But  it  is 
equally  certain  that  when  sets 
have  been  acquired,  and  paid  for, 
the  public  are  likely  to  be  much 
more  discriminating  in  what  they 
see  on  television  and  some  of  the 
lessons  of  the  past  few  years  will 
have  to  be  learnt  if  the  public  is 
still  going  to  look  to  television  as 
one  of  its  main  sources  of  enter- 

Some  of  the  pitfalls  were  dis- 
cussed and  received  headline  pub- 
licity at  our  last  Annual  General 
Meeting  and  I  need  not  therefore 

go  into  them  here.  But  in  my 
view  it  would  be  wrong  when  we 
have  another  competitive  channel 
to  act  on  the  assumption  that  the 
B.B.C.  should  operate  as  a  Third 
Programme  for  Television,  and 
that  the  I.T.A.  should  be  regarded 
as  comparable  to  the  Light  Pro- 
gramme in  Radio,  leaving  the  new 
channel  to  operate  a  kind  of  Home 

The  only  way  to  get  the  best 
service  available  to  the  public  and, 
indeed,  to  give  technicians  every 
opportunity  to  do  justice  to  them- 
selves is  to  have  networks  which 
are  completely  competitive  in  all 

May  I  in  conclusion  say  just  a 
few  words  on  the  past  quarter  of 
a  century  within  A.C.T.T.  It  has 
been  an  exciting  twenty-five  years, 
and  fruitful  in  many  ways.  On 
more  than  one  occasion,  and  par- 
ticularly at  the  outbreak  of  war, 
it  was  the  trade  unions  who  were 
in  the  vanguard  of  the  fight  to  pre- 
serve the  industry.  With  all  due 
modesty  we  can  say  that  the  size 
and  importance  both  of  British 
films  and  television  today  are  in 
some  measure  due  to  the  success- 
ful struggle  which  has  been  carried 
on  over  the  years  by  our  own 
Union  and  others  operating  jointly 
with  us. 

We  have  naturally  enough  been 
at  all  times  mindful  of  the  jobs, 
salaries  and  working  conditions  of 
our  members,  but  we  have  equally 
tried  to  be  farseeing  on  the 
broader  issues  and  we  have  lost  no 
opportunity  in  advocating  pro- 
posals designed  to  foster  the  well- 
being  of  British  films  and  British 

May   Unity  Continue 

We  have  built  up  our  member- 
ship from  a  handful  of  pioneers  to 
nearly  8,000.  We  have  developed 
from  an  unorganised  rabble  to  a 
cohesive  and  strong  force.  We 
have  seen  the  conditions  of  em- 
ployment of  our  members  advanced 
from  terms  which  were  scandalous 
into  Agreements  which  are  as  good 
as  those  held  by  any  other  British 
trade  union.  We  have  developed 
from  a  collection  of  individuals  un- 
used to  organisation  and  inexperi- 
enced in  how  to  go  about  improv- 
ing their  lot  into  a  trade  union 
which  is  as  strong,  even  if  numeri- 
cally small,  as  any  other  collection 
of  employees  in  Britain.  And  in 
making  this  progress  we  have 
managed  to  retain  that  degree  of 
unity  and  sense  of  comradeship 
which  should  pervade  the  trade 
union  movement.  May  it  always 
be  so. 



May  1958 

1933  June  21st 

A.C.T.  formed. 

1934  January 

George  Elvin  appointed  General 

1935  May 

First  number  published  "  Journal 
of  the  Association  of  Cine-Techni- 
cians ",  now  "  Film  &  TV  Tech- 
nician ". 

193(5  December 

First  industrial  agreement  signed. 
Negotiated  with  Gaumont-British 
Picture  Corporation  (Shepherds 

1937  May 

Anthony  Asquith  first  elected 

1938  April 

New  Cinematograph  Films  Act 
(Quota  Act)  in  which  union  policy 
reflected    in    minimum   cost   clause, 


Some  A.C.T.T.  Highlights 

fair  wages  clause,  and  general  pro- 
visions fostering  British  produc- 
tion as  a  result  of  mass  lobbying 
and  other  trade  union  intensive 



1939  February 

First  major  agreement  signed. 
With  Laboratory  Section  of  the 
Film  Production  Employers' 
Federation  (forerunner  of  the  Film 
Laboratory    Association). 


Intensive  activity  with  other  Trade 
Unions  and  producers  to  preserve 
industry  (which  Government 
planned  to  scrap)  and  ensure  it 
played  a  full  part  in  war  effort. 


Arrangements  made  to  staff  Ser- 
vice Film  Units  with  A.C.T.  mem- 
bers who,  it  can  now  be  revealed, 
were  released  from  Church  Parade 

to   attend   Trade    I'nion    meetings. 

1942  September 

First  Agreement  with  Association 
of  Specialised  Film  Producers. 

1943  January 

First  Agreement  with  British  Film 
Producers'   Association. 

1944  September 

First     Agreement     with     Newsreel 

1945  September 

National  Arbitration  Tribunal 
awards  in  favour  of  A.C.T.  follow- 
ing thirteen  weeks'  dispute  with 
Film  Laboratory  Association  on 
terms  of  new  agreement.  Sub- 
stantial wage  increases  and  im- 
proved working  conditions  laid 

1946  March-April 

Repair  and   Despatch   Strike. 

1947  June 

Demarcation  Agreement  signed 
settling  long-standing  differences 
between  A.C.T.,  E.T.U.  and 

1948  April 

New  Cinematograph  Films  Act  in- 
corporating progressive  improve- 
ments on  previous  Acts. 

May  1958 



19-49  December 

Short-lived  Joint  Industrial  Coun- 
cil formed  between  B.F.P.A., 
A.C.T.,  E.T.U.,  NA.T.K.E. 

1950  May 

Formation  of  A.C.T.  Films  Ltd., 
the  first  film  production  company 
in  the  world  owned  and  operated 
by  a  Trade  Union. 

1953  November 

Parliament    approves    introduction 
of   commercial   television. 

1951  January 

Mass  trade  union  demonstration  at 
Wyndhams  Theatre  to  focus 
Government  and  public  attention 
on  plight  of  British  film  production. 

1952  February 

End  of  an  era.  A.C.T.  fails  to  pre- 
vent Government  abolishing  Crown 
Film  Unit  (formerly  the  G.P.O. 
Film  Unit). 

1954  March 

Laboratory    Lock-out    and    Strike. 

1955  April 

Strike  to  force  A.C.T.  recognition 
in  commercial  television. 

1956  March 

A.C.T.   becomes   A.C.T.T. 


1957  August 

Agreement  signed  with  Pro- 
gramme Contractors'  Association 
on  behalf  of  technicians  employed 
in  commercial  television. 

1958  21st  June 

25  TODAY  ! 

Illustrations  by  Land 


Cinerama  —  CinemaScope  — 
Todd  AO  -  -  Miraclescope  —  you 
think  you've  heard  them  all?  Well 
I  just  read  about  one  you  haven't. 
How  about  SHOCKIKU-GRAND- 
SCOPE  (pronounced  Schock-he- 
you,  I  presume).  Its  a  Japanese 
process.  What's  it  like?  Don't 
ask  me,  go  and  see  Chased,  billed 
as  "  Would  she  give  up  her  hus- 
band   to    be    a    murderer's    sweet- 

heart?"   when    and    if    it    gets    to 
your  local. 


"  To  my  mind  the  film  is  far 
more  important  than  the  '  Daily 
Telegraph  ',  or  '  The  Times  ',  or 
'  Daily  Express  '."  —  Sir  Henry 
French,  quoted  in  the  Journal  of 
the  British  Film   Academy. 

The  fourth   Soho   Fair  will   take 
place   this   year,   starting   on    July 




'Twixt  a  print  from  a  dupe  and  a 

dupe  from  a  dupe 
The  difference  is  vast, 
And  complications  do  ensue 
If  the  original  is  masked. 

By  printing  from  an   unmasked 

With  geometry  reversed 
You  get  a  print  the  wrong  way 

Projecting  it  head  first. 

To  overcome  this  paradox 
You  print  it  cell  to  cell, 
Reversing  it  from  left  to  right 
And  upside  down  as  well. 

By  then  of  course  the  perfs  will 

The  wrong  side  of  the  frame; 
And  so  you  show  it  back  to  front, 
It  comes  to  much  the  same. 

To  make  it  clear,  you  mask  the 

And  dupe  it  cell  to  light, 
Reversing  it  from  head  to  tail 
To  make  it  come  out  right; 

Remembering  to  compensate 
For  difference  in  sync. 
By  moving  down  the  S.S.  mark 
by  fifteen  frames — I  think. 

The  second  generation  print 
Will  now  be  mirrorwise, 
That  is  to  say,  inverted,  but 
If  I  may  just  reprise — 

Just    mask    the    print   and   print 

the  dupe 
And  dupe  it  with  the  track — 
A    masked    masked   print    of   an 

unmasked    dupe    of    a    master 

you'll  get  back — 

And  when  all's  done  and  back  it 

And  it's  shown  upon  the  screen, 
No  matter  how  you've  done  the 

How  careful  you  have  been. 

Though  you  have  not  made  one 

Accept  this  with  a  shrug — 
The  print  you  see  will  be  N.G. 
Because  of  flutterbug. 

E.  Davie s 



May  1958 


"The    Gas    Turbine",    a    Shell    film    directed    by    Peter    de    Xormamille — 
diagram  of  a  Turbo-jet 

Years  of  Documentary 

A  S  a  recognised  movement  with 
-'*■  aim  and  purpose,  documentary 
began  in  1929  with  John  Grierson's 
Drifters,  screened  for  the  first  time 
at  a  Film  Society  performance  as 
a  curtain  raiser  to  Potemkin.  Its 
success  decisively  affected  national 
film  policy  thereafter. 

Drifters  and  the  documentary 
movement  came  out  of  the  econ- 
omic situation  of  the  early  thirties. 
The  Empire  was   turning   into  the 



it  came  to  endorse  John  Grierson's 
theories  of  the  creative  interpreta- 
tion of  actuality  and  his  belief 
that,  if  only  one  could  see  clearly 
enough    and    sympathetically,    the 

"  Kiihaiiliram  ".    produced    for    Burmah-Shell    bj     lliiiiuar    Publicity — 
classroom   in   Indian  communi(>    school 

Commonwealth,  a  change  which 
became  inevitable  as  soon  as  inter- 
Empire  protective  tariffs  were 

The  Empire  Marketing  Board 
was  set  up  to  do  something  to 
soften  the  blow  by  persuasion  and 
publicity.  One  of  its  jobs  was  to 
knit  together  the  peoples  in  the 
British  Commonwealth.  A  good 
way  of  doing  this  seemed  to  be 
by  the  film.  That  is  why  the 
Empire  Marketing  Board  has  such 
an  intimate  connection  with  the 
history   of   documentary,    and   why 

humblest  and  the  dullest  occupa- 
tion could  be  made  as  romantic  as 
the  dare-devil  exploits  of  a  cow- 
boy. No  greater  drama  could  be 
found  than  the  drama  of  social 
and  technological  development 
and  change. 

The  birth  of  documentary  was 
not  without  pain,  for  the  old 
Empire  school  of  propagandists  be- 
lieved, with  dying  vigour,  in  a  type 
of  propaganda  Kipling  and  Kit- 
chener would  have  endorsed.  As  a 
result,  two  films  were  commis- 
sioned by  the  EMB  simultaneously 

in  1928 — Creighton's  One  Family, 
about  a  little  boy  who  went  to 
Buckingham  Palace  to  pull  the 
plums  of  Empire  out  of  a  Christ- 
mas pudding;  and  Drifters,  a 
study  of  North  Sea  fishermen. 

One  Family  died  an  immediate 
death  in  the  Palace  Theatre : 
Drifters  became  famous  overnight. 
Shortly  afterwards,  Grierson's 
EMB  Film  Unit  was  called  into 
existence  by  Sir  Stephen  Tallents, 
and  the  first  documentary  films 
made  their  appearance:  O'er  Hill 
mid  DaU ,  Shadow  on  the  Moun- 
tain, The  Other  Half  of  the  World, 
Industrial  Britain,  Upstream, 
Aero-Engine  and  an  odd  little  com- 
pilation called  Conquest. 

It  was  a  time  when,  to  many 
people,  the  entertainment  cinema 
seemed  more  than  usually  jejeune, 
so  to  the  movement  were  attracted 
not  only  a  group  of  young  film 
makers,  among  others  Basil 
Wright,  Stuart  Legg,  Edgar 
Anstey.  Paul  Rotha.  Harry  Watt, 
Donald  Taylor,  Marian  and  Ruby 
Grierson,  John  Taylor,  and  J.  D. 
Davidson,  but  also  young  writers, 
poets  and  musicians,  including 
W.  H.  Auden.  Benjamin  Britten 
and  Walter  Leigh. 

Cavalcanti  came  to  us  from 
France  and  in  a  year  or  two 
taught  us  more  about  cutting  and 
the  presentation  of  our  material 
than  we  should  have  learnt  by  our- 
selves in  a  month  of  Sundays.  Bob 
Flaherty  rampaged  over  the  Mid- 
lands and,  seen  through  his  eyes, 
the  Black  Country  took  on  a  beauty 
of  its  own.  Much  later  Carl  Dreyer 
came  to  us  from  Denmark  and 
made  his  own  special  contribution 
to  the  script  of  North  St  a. 

When  the  Empire  Marketing 
Board  was  scrapped.  Tallents 
moved  over  to  the  Post  Other,  at 
that     time     the    only    Government 

May  1958 



department,  except  the  Ministry 
of  Labour,  in  intimate  contact 
with  the  public  and  suffering  from 
a  surfeit  of  public  disfavour.  He 
took  the  EMB  Film  Unit  with  him 
and  renamed  it  the  GPO  Film 
Unit.  From  it  stemmed  another 
famous  series  of  films :  Night 
Mail,  6.30  Collection,  Weather 
Forecast,  Under  the  City,  The 
Copper  Web,  North  Sea,  and  a 
score  of  others.  The  gas  industry, 
locked  in  combat  with  electricity, 
took  the  film  under  its  wing  and 
gave  us  Housing  Problems,  Enough 
to  Eat  and  Children  at  School. 
Tea  brought  Song  of  Ceylon.  The 
BBC  gave  us  BBC — The  Voice  of 
Britain,  and  the  Ministry  of 
Labour,  Men  and  Jobs. 

The  Shell  Film  Unit  was  founded 
in  1933  and  early  undertook  a  pro- 
gramme of  films  on  physics  and 

It  is  often  supposed  that  the 
term  "documentary"  applies  to  a 
technique  of  film  making.  It  does 
not.  It  refers  to  a  point  of  view 
on  the  part  of  the  maker.  It  hap- 
pens that  films  fitted  this  point  of 
view  peculiarly  well  and  became 
its  principal  instrument  of  expres- 
sion. A  decade  earlier  radio  might 
have  been  the  choice.  Twenty-five 
years  later  it  is  no  accident  that 
John  Grierson  is  conducting  a  TV 
programme  in  Scotland. 

The  job  of  the  original  documen- 
tary film  makers  was  to  bring 
alive  the  world  around  them  at  a 
moment  of  ferment  engendered  by 
the  rise  of  social  democracy  as  we 
know  it  today.  So  the  subject 
matter  of  many  of  the  films  was 
found  in  housing,  nutrition  and 
communication.  These  things  were 
central  in  the  public  thinking  of 
the  thirties,  and  the  first  documen- 
tary films  were  part  of  the  social 
life  of  their  time. 

When  the  War  came  in  1939,  the 
documentary  movement  was  small, 
but  strong.  It  seized  the  initiative 
and  was  entrusted  with  the  task 
of  bringing  Britain's  war  effort 
alive.  It  expanded  many  times 
over.  The  result  was  that  the 
movement  gained  in  size  but  lost 
in  direction.  The  Documentary 
came  to  mean  a  kind  of  film  with- 
out actors.  Experimental  tech- 
niques and  styles  hammered  out  in 
the  '30s  quickly  became  formulae. 

It  is  to  Canada  that  one  must 
look  for  the  complete  flowering  of 
the  pre-war  British  documentary 
movement.  Even  the  Crown  Film 
Unit,  inheritor  of  the  traditions  of 
the  GPO  Film  Unit,  sometimes 
took  on  the  airs  of  a  society  lady 
in  a  ringside  seat  at  a  circus,  and 
finally  behaved  in  a  way  calculated 
to  secure  its  own  demise.     But  at 

its  best  it  was  responsible  perhaps 
for  the  finest  war  film  of  all — 
Humphrey  Jennings'  Fires  Were 

Today  the  need  for  the  creative 
interpretation  of  actuality  is  as 
great  as  ever,  but  the  subject 
matter  of  the  films  is  changing, 
and  the  purposes  are  different.  We 
are  facing  a  crisis  in  education 
when  the  old  classical  and  liberal 
values  are  being  found  wanting 
and  the  new  scientific  and  tech- 
nological ones  not  yet  wholly 
accepted.  This  is  why  the  liveliest 
contemporary  documentaries  are 
occupied,     not     with     housing    and 

Problems  book  and  left  Free 
Cinema  unsuccessfully  to  pursue  a 
freedom  Captive  Cinema  has  long 
since  commanded. 

If  today  some  British  documen- 
taries seem  a  little  dead-beat  this 
is  anything  but  true  of  the  films 
coming  out  of  Asia,  Africa,  the 
Middle  East  and  Latin  America. 
There  a  documentary  film  move- 
ment is  bubbling  up  beside  the 
developing  social  and  economic 
forces.  The  foremost  exponents  of 
the  documentary  film  today  bear 
names  which  sound  strange  and 
far  away  in  the  purlieus  of  Soho 
Square.       Atma     Ram     of     India, 

A    documentary    in    the    making — "  Venezuela    Fights    Malaria  ",    produced    by 
(nidad  Filmiea  Shell,  directed  by  Boris  Woron/.ow 

nutrition,   but  with  the  interpreta- 
tion of  science  and  technology. 

One  result  is  that  Approach- 
ing the  Speed  of  Sound  shared  a 
Venice  prize  with  Every  Day  Ex- 
cept Christmas.  It  stems  directly 
from  the  old  EMB  Aero-Engine 
and  early  Shell  films  like  Power 
Unit  and  Springs. 

For  all  its  solid  elegance. 
Every  Day  Except  Christmas  dis- 
plays a  sense  neither  of  social  nor 
of  economic  reality.  Lindsay 
Anderson  parades  his  engaging 
and  ebullient  cast  like  a  mission- 
ary showing  off  converted  canni- 
bals to  a  visiting  bishop.  So 
marked  is  his  lack  of  social  aware- 
ness in  a  subject  one  would  have 
supposed  he  would  have  found 
bristling  with  social  problems, 
that  it  suggests  there  may  not  be 
much  place  today  for  the  so-called 
social  film.  Television  has  taken 
over  the  job  and  has  found  a  direct 
approach  to  its  subject  matter 
that  eludes  contemporary  docu- 
mentary. Michael  Peacock,  Caryl 
Doncaster,  Peter  Hunt,  Peter 
Morley  and  Michael  Ingrams  have 
taken    a    leaf   out    of   the    Housing 

Abou  il  Naga  of  Egypt,  Ebrahim 
Golestan  of  Iran  and  Nestor 
Lovera  of  Venezuela  have  taken 
the  standard  and  are  carrying  it 
to  new  heights.  One  of  the  more 
significant  films  of  our  time  is  a 
16mm.  Egyptian  documentary  with 
the  strange  title  of  Tie  Up  Your 
Camel  and  Leave  the  Rest  to  God. 

That  documentary  is  the  only 
creative  contribution  Britain  has 
ever  made  to  the  art  of  the  film  is 
not  to  be  doubted.  We  can  be 
proud  that  its  point  of  view  and 
principles  are  recognised  by  film 
makers  all  over  the  world.  We  are 
honoured  that  many  of  us  have 
been  called  to  help  the  new  docu- 
mentary film  find  its  feet.  We  can 
be  reassured,  too,  for  the  new  over- 
seas movement  has  produced  not 
only  new  possibilities  and  pur- 
poses, but  new  jobs. 

It  is  up  to  us  to  keep  up  with 
the  inspiration  and  freshness  of 
the  new  overseas  documentaries. 
The  disciplines  of  the  movement 
are  open  to  everyone,  but  they 
leave  little  room  for  the  man  with 
his  eyes  on  his  feet  and  not  on  far 



May  1958 


Senior  Cameraman 
B.B.C.  Television  Service 



'yHE  latest  addition  to  the  B.B.C. 
*  Recording  Equipment,  the 
Video  Electronic  Recording  Ap- 
paratus, VERA  for  short,  is  being 
installed  at  Lime  Grove  and  will 
be  ready  for  service  very  soon.  A 
demonstration  was  given  on 
Panorama  on  Monday,  April  14th, 
the  vision  signals  being  recorded 
on  the  prototype  apparatus  at  the 
B.B.C.'s  Research  Department  at 
Nightingale  Square. 

Normally  Telerecordings  are 
done  by  filming  the  picture  from  a 
Cathode  Ray  Tube.  The  film  is 
then  sent  to  the  Laboratories  in  the 
usual  way  for  processing.  This 
takes  anything  up  to  twenty-four 
hours  for  urgent  prints.  If  the 
film  is  topical  and  urgently  re- 
quired the  negative  can  be  used 
for  transmission  and  phase- 
reversal  applied  in  the  video 

By  using  magnetic  tape,  this 
can  be  recorded  and  transmitted  in 
a  few  minutes,  in  other  words, 
in  the  time  it  takes  to  re-wind  the 
tape  back  to  the  start  position. 
For  News  and  programmes  like 
Panorama  and  Sportsview  VERA 
is   a  Godsend. 

The  tape  travels  through  the 
heads  at  200  inches  per  second  or 
1,000  feet  per  minute  and  the  run- 
up time  is  approximately  twenty 
seconds.  It  is  possible  to  monitor 
vision  and  sound  whilst  recording 
is  in  progress.  Twenty-thousand 
feet  reels  are  used  which  give 
nearly    twenty    minutes    recording. 

Three  tracks  are  used  on  i-inch 
un-sprocketed  tape.  Of  these,  two 
are  for  vision  and  one  for  sound. 
The  video  waveform  ( picture  i  is 
divided  into  two  frequency  bands, 
one  frequency  band  per  track.  It 
is  believed  that  the  upper  fre- 
quency band  is  heterodyned  to  pro- 
duce a  lower  band  of  frequencies 
for  easier  recording.  This  would 
be  converted  back  to  the  original 
frequency  band  on  reproduction. 

Magnetic  tape  can  be  wiped  and 
used  again  and  again  and  as  there 
is  no  processing  involved  the  cost 
of  recording  a  programme  on 
VERA  is  much  less  than  a  record- 
ing on  film. 

Contributions  to  or  from  Euro- 
vision  are  catered  for  by  the  con- 
verter at  Swingate,  which  consists 
of  a  display  (TV  cathode  ray  tube) 
with  a  static  Television  camera 
working  at  the  required  line  fre- 
frequency  focused  on  it. 

Programmes  recorded  on  VERA 
could  only  be  offered  abroad  via 
this  facility.  In  other  words,  the 
tape  cannot  be  sent  abroad  for 
transmission  by  a  foreign  station. 
Even  if  the  foreign  station  had  a 
VERA,  they  would  still  need  a  con- 
verter to  convert  the  recording  to 
their  own  line  frequency.  There- 
fore, programmes  recorded  on 
VERA  would  have  to  be  trans- 
ferred to  film  for  sale  abroad. 

Ampex  System 

It  might  be  interesting  to  men- 
tion the  Ampex  system  which  is 
used  in  the  U.S.A.  This  uses  a 
slow  tape  speed  and  a  system  of 
rotating  heads  which  lay  the 
recorded  video  information  across, 
rather  than  along,  the  tape.  A 
drawback  of  this  system  is  that 
the  same  heads  must  be  used  for 
recording  and  playback.  VERA 
recordings  are  not  bound  by  this 
critical   requirement. 

Magnetic  tape  cannot  be  stored 
for  long  periods  without  gradual 
loss  of  the  higher  frequencies  and 
there  is  also  the  possibility  of 
print-through.  Great  care  must  be 
exercised  at  all  times  to  keep  the 
tape  away  from  magnetic  fields 
such  as  generators,  etc. 

Full  technical  information  on 
editing  is  not  yet  available. 

In  the  case  of  a  play  being 
recorded  there  are  sometimes  a 
few  re-takes  necessary  after  trans- 
mission has  taken  place,  due,  per- 
haps, to  an  artist  fluffing  lines, 
someone  making  a  noise,  a  camera- 
man, producer  or  sound  mixer 
making  an  operational  error.  This 
necessitates  editing  but  this  pre- 
sents no  problems  with  film.  Edit- 
ing high  speed  tape,  however, 
would  appear  to  present  some  pro- 
blems and  would  require  a  high 
degree  of  concentration,  probably 
behind  locked  doors ! 

It  could  be  done  by  wiping  the 
faulty  sequences,  but  what  is 
there  to  guarantee  that  the  re- 
take time  is  exactly  that  of  the 
original  and  will  fit  perfectly  the 
wiped     portion?        Also,     although 

the  recording  can  be  monitored 
during  editing  and  the  wipe  switch 
pressed  at  the  correct  moment, 
there  will  be  nothing  on  the 
monitor  to  indicate  when  to  release 
the  wipe  key  at  the  end  of  the 
sequence,  with  the  consequent 
danger  of  wiping  beyond  the 
required   point. 

Editing  by  transfer  of  essential 
material  to  another  machine, 
stopping  at  the  point  of  retake, 
doing  the  retake  on  the  transfer 
machine,  then  carrying  on  with 
the  transfer  from  the  original 
machine,  might  appear  to  be  a 
solution.  Unfortunately,  synchr- 
nisation  of  the  two  machines  would 
be  absolutely  essential  and  this 
would  be  virtually  impossible 
because  the  run-up  time  varies. 

Cutting  and  Joining 

Cutting  and  joining  would  be  the 
best  method,  using  a  frequency 
blip  above  the  audio  range  super- 
imposed on  the  sound  track  to 
mark  the  splicing  point.  This  blip 
would  be  heard  as  a  whistle  when 
the  tape  was  played  back  slowly. 
The  splice  would  probably  cause  a 
change  of  syncs  on  transmission 
which  would  be  visible  as  a 
momentary  line  twitter  or  a  frame 
roll  but  this  would  not  be  serious. 

It  remains  to  be  seen  whether 
eventually  all  telerecordings  will 
be  done  on  VERA.  I  do  not  think 
so  because  material  for  archives 
or  other  similar  requirements  will 
onlj  retain  its  original  quality  over 
tin'  years  if  done  on  film,  and  pro- 
grammes for  sale  abroad  also  need 
to  be  done  on  film  for  reasons 
already  given. 

May  1958 



Death  of 
A.  E.  Inglethorpe 

We  very  much  regret  to 
announce  the  death  of  one  of 
A.C.T.T.'s  oldest  members,  Alfred 
Edward  Inglethorpe,  one  of  the 
old-time  news-reel  cameramen  who 
worked  for  many  years  for 
Gaumont  and  Pathe. 

Brother  R.  W.  Smith  writes : 
•'  Alfred  Edward  Inglethorpe  had 
an  inventive  brain  and  was  respon- 
sible for  many  improvements  on 
cine  cameras  and  projectors.  Many 
years  ago  he  constructed  a  tripod 
with  a  floating  head  to  correct 
horizon  when  filming  at  sea.  Even 
up  to  the  time  of  his  death  at  the 
age  of  69  he  was  working  on  a 
back  projection  model  of  his  own 
design  for  use  in  schools  and  for 
advertising.  He  will  be  remem- 
bered with  affection  by  old 
members  of  A.C.T.T." 

Two  Weddings 

Brian  Shemmings,  Branch  Sec- 
retary, Pathe,  Wardour  Street, 
writes  : 

Two  of  our  members  got  married 
during  March  this  year.  The  first 
was  Ronnie  Steele,  who  was 
married  on  March  22nd  at  St. 
Margaret's  Church,  Streatham,  to 
Miss  Marion  Lait.  There  were  90 
guests  at  the  reception.  The 
Branch  presented  Ron  and  Marion 
with  an  electric  fire  as  a  wedding 

The  second  was  Les  Holland, 
who  was  married  on  March  29th 
at  St.  Jude's  Church,  Elephant  and 
Castle,  to  Miss  Eileen  Sone.  An 
archway  of  fishing  rods  was  lined 
up  outside  the  Church,  for  Les  is 
an  ardent  member  of  the  South- 
wark  Angling  Club.  There  were 
52  guests  at  the  reception,  includ- 
ing his  brother  Bill,  who  works 
with  him  at  this  Branch.  Les  and 
Eileen  were  presented  with  a  can- 
teen of  cutlery,  a  wedding  present 
from  the  Branch. 



Editorial  Office: 
2  Soho  Square,  W.l 

Telephone:     GERrard   8506 

Advertisement   Office: 
67  Clerkenwell  Road,  E.C.I 

Telephone:    HOLborn  4972 




Head  of  United  Nations  Film  Services 

United  Nations  Film  Services 
work  as  uncompromisingly  inter- 
nationally as  A.C.T.T.  tries  to 
work  nationally.  Our  range  of 
nationalities  includes  French,  Czech, 
Indian,  Jamaican,  Russian,  Ameri- 
can and  British.  Each  of  the 
eighty-two  nations  has  a  quota  of 
the  staff  of  the  whole  organisation 
according  to  the  amount  of  its 
financial     contribution. 

The  annual  contributions  of  the 
member  nations  to  the  Film 
Services  amount  to  an  average  of 
a  little  over  two  thousand  dollars 
per  nation.  We  scrape  additional 
money  by  working  for  Specialised 
Agencies  of  the  United  Nations 
family  like  U.N.I.C.E.F.  (The 
Children's  Fund),  or  by  publicising 
special  projects  like  the  UN 
Emergency  Force  in  the  Middle 
East;  or  by  making  joint  pro- 
ductions with  individual  member 
states  on  subjects  of  mutual 

Millions  of  Feet 

Our  film  library  contains  millions 
of  feet  of  coverage  from  all  over 
the  world  as  well  as  coverage  of 
meetings  of  the  Security  Council 
and  the  United  Nations  General 
Assembly.  This  historic  material 
is  available  at  the  cost  of  a  dupli- 
cate negative  for  any  production 
or  television  programme  consonant 
with  the  interests  of  the  United 
Nations.  Indeed,  we  give  all  the 
help  within  our  scope  to  any  pro- 
ducer whose  interests  coincide  with 

We  also  make  films.  In  Haiti, 
earlier  this  year,  we  have  been 
making  a  three-reel  anecdotal 
about  United  Nations  Technical 
Assistance  work  in  introducing 
modern  methods  of  co-operative 
farming.  This  was  to  form  the 
second  of  three  episodes  designed 
to  make  up  the  first  United 
Nations  film  of  feature  length, 
under  the  working  title  of  Power 
Among  Men.  It  is  a  study  of  post- 
war efforts  to  regain,  to  raise  and 
to  maintain  standards  of  living  in 
conditions  of  defence,  agriculture 
and    industry.      The    first    episode 

takes  place  in  a  war-devastated 
village  near  Monte  Cassino  in 
Italy,  the  second  in  the  agri- 
cultural highlands  of  Tahiti.  The 
third  is  in  a  hydro-electric  com- 
munity at  Kitimat,  British 

The  epilogue  is  planned  as  an 
attempt  to  show  what  effect  the 
use  of  nuclear  energy  can  have  on 
these  and  other  communities  if 
shared  under  international  control. 

We  have  completed  a  batch  of 
more  routine  films  and  have  also 
in  hand  a  three-reel  film  which 
attempts  to  illustrate  the  services 
of  the  United  Nations  family  of 
Agencies  to  the  individual  who 
asks  for  them  through  his  Govern- 
ment, and  it  is  quite  a  range  of 
services,    too. 

We  try  to  keep  away  from  the 
standard  information  film  whose 
work,  to  my  mind,  is  better  done 
by  the  spoken  or  written  word. 
We  are  trying  to  work  through 
the  emotions  of  the  audience  and 
we  try  to  aim  at  a  particular  type 
of  audience,  suitable  for  the  recep- 
tion of  the  subject  chosen.  In  the 
past  there  was  a  curious  notion 
that  any  film  should  be  applicable 
to  any  audience — a  tall  order  in  a 
world  as  varied  as  ours! 







Pygmalion,  1938  Orders  to  Kill,  1958 

Young  Mr.  Lincoln,  1939  Gideons  Day,  1958 

May  1958  FILM    &    TV    TECHNICIAN 



Modern  Times,  1936 

A  King  in  New   York,  1957 



Housing  Problems,  1935  Every  Day  Except  Christmas,  1957 



May  1958 


T3EFORE  examining  the  future  of 
'-*  commercial  television,  it  is 
essential  to  get  a  clear  picture  of 
the  past. 

For  purely  political  reasons, 
commercial  television  was  mounted 
and  started  in  this  country  in  just 
about  half  the  time  that  was  really 
needed  to  do  it  well,  and  it  was 
done,  for  the  greater  part,  by 
people  with  little  or  no  previous 
knowledge  of  television.  A  few 
experts  were  enticed  out  of  the 
B.B.C.  but  there  were  not  enough 
to   go    round    and    the    remarkable 

cinemas  on  their  hands  and  these 
were  hastily  adapted  because  they 
were  immediately  available  and  in 
spite  of  the  fact  that,  except  for 
certain    sorts    of    "  variety ",    the 

.   .   .  enticed  out   of  the   B.B.C. 

thing  is  not  that  so  many  mistakes 
were  made,  but  so  few.  That  it 
started  at  all  when  it  did  and  that, 
in  a  mere  two  and  a  half  years,  it 
has  taken  such  a  hold  on  the  public 
imagination,  is  a  tribute  to  every- 
one concerned. 

The  commercial  companies 
started  with  no  premises,  no  staff, 
no  equipment,  no  income,  no 
audience  and  no  time.  In  a  year 
transmissions  had  begun.  It  is 
hardly  surprising  that  the  whole 
operation  was  permeated  with  an 
air   of   frantic   improvisation. 

Hastily    Adapted 

The  personnel  was  hastily 
assembled,  the  equipment  was 
often  not  the  best  that  could  be 
obtained  but  what  could  be 
obtained  in  the  time;  the  studios, 
in  the  beginning,  could  not  be 
pecially  designed  and  built  but 
had  to  be  converted  from  existing 
buildings.  Most  of  the  companies 
had   a   lew  derelict  old   theatres  or 



TV  Vice-President 

theatre  is,  architecturally  and 
acoustically,  just  about  the  worst 
and  most  awkwardly  unsuitable 
kind  of  building  for  the  purpose. 

To  make  confusion  even  more 
confounded  the  I.T.A.,  by  its  rigid 
over-insistence  on  regional  tele- 
vision and  by  its  complete  ignor- 
ing of  the  fact  that  London  is,  and 
always  has  been,  the  traditional 
centre  of  the  entertainment  indus- 
try, placed  many  of  these  com- 
panies in  places  where  there  was 
no  large,  resident  population  of 
professional  entertainers  —  actors, 
writers,  dancers,  musicians  and  the 
like;  with  the  result  that  these 
exiled  companies  had  to  import  a 
very  large  proportion  of  their  pro- 
gramme material  from  London.  A 
most  cumbersome  and  expensive 

Awkwardness    and    Improvisation 

Many  of  the  faults  inherent  in 
this  kind  of  start  have  since  been 
rectified,  but  many  have  not  and 
the  general  picture  of  awkward- 
ness and  improvisation  still,  widely 
remains.     What  should  be  done  ? 

First  of  all,  to  build  studios  that 
are  really  and  solely  designed  for 
television  production.  This  work 
is  going  ahead,  but  it  takes  time 
and  money  and  it  will  be  quite  a 
few  years  before  we  are  finally  rid 
of  the  improvisations.  The  second 
thing  to  do,  as  I  see  it,  is  to  get 
regional  television  into  its  right 
perspective  and  build  these  studios 
in  the  most  economic  and  con- 
venient place. 

Genuine,  regional  television  is 
an  excellent  thing  and  should  be 
encouraged  in  every  way.     London 

is  not  Britain  and  it  is  sound  think- 
ing to  give  the  regions  a  proper 
voice  in  television,  the  biggest 
voice  that  they  can  be  given.  There 
are,  however,  limits  to  which  this 
is  practicable  and  economically 
sensible.  This  limit  is  reached 
when  it  comes  to  drama,  variety 
and   "  pure  entertainment  ". 

For  three  hundred  years,  now, 
London  has  been  the  Mecca  of  all 
those  who  would  make  a  place  for 
themselves  in  the  entertainment 
industry.  Everyone  from  Aber- 
deen to  Aberystwyth  who  has 
wanted  to  make  a  living  as  an 
actor  or  singer  or  dancer  has  emi- 
grated to  London  to  do  it,  with  the 
result  that  London  is  now  the  only 
place  in  the  country  that  has  a 
large  population  and  a  huge  re- 
serve of  professional  entertainers. 
Because  of  this,  it  is  also  virtually 
the  only  place  that  has  all  the 
ancillary  arts  and  industries  that 
support  them — the  costumiers, 
the  wig  makers,  art  directors,  and 
hirers  of  firearms  and  furniture, 
the  film  processing  laboratories — 
all  the  things  that  go  to  make  up 

The  result  of  this  is  that  if  you 
want  to  cast  and  equip  a  complex 

.  .  .  everyone  lias  emigrated  to  London 

piece    of    entertainment    you    have 
got  to  do  it  from  London. 

What  happens  at  the  moment 
with,  say,  a  television  play  from 
Manchester?  A  Director,  living  in 
London,  takes  a  script  which  has 
been  written  or  adapted  in  London 
or  the  home  counties  and  easts  it 
with  London  based  actors.  He  pre- 
pares it  and  rehearses  it  in  London 
and  then,  with  a  huge  load  of 
costumes,     wigs,     furniture      (you 

May  1958 



can't  even  hire  the  furniture  in  the 
provinces!),  cans  of  film,  gramo- 
phone records  and  properties  he 
lumbers  up  to  Manchester,  does  the 
show  and  brings  the  whole  lot  back 
to  London,  having  wasted  the  best 
part  of  five  hundred  pounds  on 
transport,  hotel  bills  and  trunk 
calls.  It  is  not  regional  and  it  is 

"  Let's  not  Deceive  Ourselves  " 

Let  us  have  as  much  genuine 
regional  television  as  possible,  but 
let  us  not  try  and  deceive  ourselves 
and  the  public  as  to  what  is 
genuine  and  what  is  phoney. 

One  would  have  thought  that  the 
place  to  build  new  studios  was 
London.  One  would  have  thought 
that  it  would  have  been  sensible 
for  the  provincial  companies  to 
have  got  together  to  build  and 
share  London  studios  specially  de- 
signed and  equipped  for  this  type 
of  entertainment.  One  would 
have  thought  that  the  I.T.A. 
would  have  seen  the  logic  of  the 
case  and  have  relaxed  the  rigidity 
of  its  rules  for  this  type  of  show. 

What  else  would  one  like  to  see 
happening  in  the  future  ?  I,  for 
one,  would  like  to  see  more  flexi- 
bility in  the  programme  planning; 
fewer  series  and  serials  and  fixed 
spots  at  fixed  times  so  that  there 
was  more  room  for  the  off-beat, 
exceptional  and  individual  pro- 
gramme that  does  not  lend  itself 
to  the  conveyor-belt  system  and  at 
present  finds  no  place. 

Importance    of    Writers 

I  would  like,  too,  to  see  a  more 
genuine  realisation  of  the  supreme 
importance  of  the  writer  in  tele- 
vision. He  is  our  life  blood.  We 
cannot  live  without  him  and  we  are 
not  treating  him  properly.  At  pre- 
sent we  are  consuming  scripts 
faster  than  they  are  being  written. 
Soon  we  shall  run  out.  We  are 
already  scraping  the  bottom  of  the 
barrel  and  producing  stuff  that 
ought  never  to  see  the  light  of  day. 
We  are  not  encouraging  the  first- 
rate  writer  to  write  for  television. 
This  we  shall  have  to  do  if  we  are 
to  survive.  At  present  a  writer 
can  make  much  more  money 
writing  a  novel  than  he  can  by 
writing  two  or  three  television 
scripts.  He  can  make  twenty 
times  the  money  by  writing  a  play 
for  the  theatre  than  he  can  by 
writing  the  same  play  for  tele- 
vision which  is  seen  by  a  hundred 
times  more  people.  If  we,  our- 
selves, are  going  to  live,  then  we 
must  give  the  top  grade  writer  a 
living    in    television    and    compete 

with    the    other    markets    for    his 

We  must  strive,  too,  for  more 
professionalism.  Too  much  of 
television  production  and  direction 
is  slipshod,  amateurish,  under- 
rehearsed  and  unpolished.  Pro- 
ducers and  directors  must  fight  for 
more  rehearsal  time  but  they  must 
also  learn  how  to  use  it  when  they 
have  got  it.  The  one-run-through 
and  bash-it-on-somehow  days  are 
over.  There  is  no  excuse  for  them 
any  more.  Let  us  look  at  the  pre- 
cision and  polish  and  exactitude  of 
the  tip-top,  first  feature  film  and 
the  slap-up,  West  End  theatre  pro- 
duction and  set  our  sights  as  high 
as  these. 

Poor  Lighting 

And  what  about  the  technical 
side  of  television?  There  is  room 
for  improvement  here.  There  is 
still  a  great  deal  of  lighting  that 
is  poorer  than  it  should  be.  There 
is  still  a  great  deal  of  set  design- 
ing and  direction  that  takes  no 
notice  of  the  lighting  man's  prob- 
lems and  makes  his  difficulties 
greater  than  they  should  be.  A  lot 
of  telecine  projection  work  is  poor 
and  a  great  deal  of  film  is  shot  for 
telecine  which  is  not  suited  to  it 
because  no  exact  standards  have 
been  codified  and  issued  to  film 
camera  lighting  men  and  pro- 
cessing laboratories. 

But  it  is  in  the  field  of  television 
receiver  manufacture  that  the 
greatest  room  for  technical  im- 
provement lies.  For  instance,  we 
must  insist  that  D.C.  Restoration 
is  included  in  all  sets  sold  to  the 
public.  For  those  who  are  as  un- 
technical  as  I  am,  let  me  try  to 
explain   D.C.   Restoration. 

D.C.    Restoration 

D.C.  Restoration  is  that  essential 
part  of  a  television  receiver  that 
is  designed  automatically  to  con- 
trol the  brightness  and  contrast  of 
the  picture,  to  balance  the  blacks 
and  whites.  Unfortunately  it  costs 
a  little  money,  around  five  pounds, 
I  believe,  and,  in  order  to  reduce 
the  cost  of  manufacture,  a  very 
large  number  of  the  makers  of 
television  sets  have  agreed  to  omit 
this  component  from  the  models 
that  they  sell.  What  is  the  result  ? 
As  long  as  the  picture  is  a  brightly 
lit  one,  the  quality  is  acceptable, 
but  as  soon  as  the  director  wants 
to  do  a  dark  scene,  moonlight  for 
instance,  or  some  dramatic 
"  effect  "  lighting  with  bright  high- 
lights and  deep  shadows,  the 
domestic   picture,    far   from    being 

satisfactory,  will  render,  instead 
of  black  and  white,  an  all-over, 
pallid,  foggy,  fuzzy  grey.  His 
effect  and  the  general  quality  of 
the  picture  will  be  gone.  On  the 
control  gallery  monitor  which  has 
D.C.  Restoration  the  result  may  be 
fine,  but  the  picture  on  the  home 
set  which  has  not  got  it  will  be  a 

This  hampers  and  hamstrings 
the  director  to  a  terrible  extent.  It 
means  that  if  the  script  says  "  The 
room  is  dark,  the  door  opens,  a 
shaft  of  bright  light  falls  on  the 
figure  on  the  sofa,  a  man  stands 
silhouetted  in  the  doorway ",  he 
can't  do  it.  He  has  to  write  that 
scene  out  of  the  script. 

.    .    .    the    picture    will    be    ;i    mess 

The  elimination  of  the  D.C.  com- 
ponent from  modern  television  re- 
ceivers is  one  of  the  major 
scandals  of  the  industry.  We 
should  all  do  everything  in  our 
power  to  put  an  end  to  it. 

And  what  of  the  establishment 
of  a  training  school  ?  Most  of  the 
companies  run  an  occasional,  per- 
functory training  session,  but  these 
are  mostly  inadequate.  There  is 
no  concerted  and  complete  effort 
and  organisation.  The  newcomer 
to  the  industry  usually  half  learns 
his  job  by  being  allowed  to  hang 
around  and  watch  for  a  bit  and  is 
then  kicked  into  the  deep  end  to 
sink  or  swim,  with  the  result  that 
a  proportion  of  television  is  slip- 
shod and  messy  and  displays  a 
wide  ignorance  of  the  elementary 
grammar  of  camera  work.  One 
hopes  that  the  production  com- 
panies, in  their  own  interests,  will 
soon  get  together  and  combine  to 
establish  a  really  first-class  staff 
training   college. 

I  suppose  one  cannot  write  an 
article  on  the  future  of  television 
without  saying  something  about 
colour.  The  B.B.C.  has  an  experi- 
mental colour  system  which  gives 
remarkably  good  and  effective  re- 
sults but  it  is  still  in  the  labora- 
tory stage  and  is  far  from  being 
either  a  practical  or  a  commercial 
proposition.      One    of    the    senior 

(Continued  on  page  270) 



May  1958 



B.B.C.  engineers  was  asked  when 
he  thought  that  it  would  really 
come  in.  His  answer  was  illuminat- 
ing and  typical.  "  It  will  start  ", 
he  said,  "  in  my  opinion,  Ave  years 
from  some,  as  yet,  unspecified 
date  ". 

Looking  back  on  the  history  of 
television,  one  is  amazed  at  the 
speed  of  its  development  and  the 
breadth  of  its  achievement.  I 
think  we  may  congratulate  our- 
selves; but.  for  heaven's  sake,  let 
us  not  be  complacent.  Let  us  not 
imagine  that  television  has  suc- 
ceeded because  of  the  excellence  of 
the  product.  It  has  not.  Tele- 
vision has  captured  its  audience 
because  it  appeals  to  the  lazy  and 
the  impoverished,  because  it  calls 
for  an  expenditure,  on  the  part  of 
the  viewer,  neither  of  money  nor 
of  effort.  Compared  with  the 
general  run  of  its  rival  arts,  the 
theatre  and  the  cinema,  its 
standards  are  dismally  low.  There 
is  still  much  to  be  done. 


Cornel  Lucas,  personality  photo- 
grapher with  the  Rank  Organisa- 
tion, who  has  been  in  photography 
for  twenty  years  and  a  member  of 
A.C.T.T.  for  the  same  length  of 
time,  is  holding  a  one-man  exhibi- 
tion of  his  work  at  Kodaks,  Kings- 
way,   until   May  21st. 

The  exhibition  includes  many  ex- 
amples in  colour  and  black-and- 
white  of  personalities  he  has 
photographed  over  the  last 
twelve  years.  During  this  time 
he  has  photographed  some  of  the 
world's  most  attractive  women.  He 
has  travelled  round  the  world 
twice  photographing  the  faces  of 
film  personalities.  He  has  also 
covered  film  festivals  wherever  the 
British  Film  Industry  is  repre- 

Cornel  Lucas  has  had  many  ex- 
hibitions of  his  work  throughout 
the  country  but  none  of  them  as 
large  as  the  present  one  which  is 
tlic  first  one-man  exhibition  of  a 
photographer  in  the  film  industry. 
At  the  conclusion  of  the  London 
showing  the  exhibition  will  go  on 

Cameramen  on  the  Move 

In  an  average  year,  cameramen 
in  Pictorial,  News  and  Documen- 
tary departments  travel  many 
thousands  of  miles  abroad.  They 
work  hard,  but  at  least  they  do 
see  the  world,  while  the  rest  of  us 
have  to  keep  in  the  picture  with 
guide  books. 

Recently,  however,  the  adminis- 
tration "  backroom  boys  "  have 
been  holding  aloft  the  Pathe 
standard   overseas.      They   include: 

Terry  Ashwood,  General  Mana- 
ger of  the  Production  Division, 
accompanied  by  Harry  Field,  Pro- 
duction Executive  of  the  TV  Com- 
mercials Department,  recently 
returned  from  a  ten  days  visit  to 
the  Warners,  Columbia,  and  Desilu 
studios  convinced  that  film  pro- 
duction over  there  is  still  thriving. 
Judging  from  the  general  enthu- 
siasm everywhere  there  are  very 
few  indications  of  the  truth  in 
rumours  that  times  are  bad,  they 

Bob  Fitchett,  Production  Mana- 
ger, TV  Commercials,  has  had  ten 
days  in  Italy,  supervising  company 
interests  in  Rome.  An  interesting 
aspect  of  the  business  over  there 
noted  by  Bob  is  the  fact  that  com- 
mercials on  television  are  trans- 
mitted every  evening  in  one 
quarter-hour  programme,  so  that 
viewers  can  switch  off  if  they  so 
desire.  On  the  other  hand,  with 
all  due  respect  to  the  advertising 
spots  produced  in  this  country, 
some  of  which  are  quite  good,  the 
two-minute  twenty-second  Italian 
commercials  have  considerably 
more  entertainment  value. 

The  comparative  tranquility  of 
our  busy  Wardour  Street  studios 
was  threatened  recently  by  the 
arrival  of  a  ferocious  looking 
leopard,  booked  for  a  session  on 
the  set  with  Director  Eric  Fullilove 
and  his  crew.  Extensive  pre- 
cautions were  taken,  and,  needless 
to  say,  heavy  insurance  taken  out 
in  view  of  the  jungle  cat's  reputa- 
tion. It  says  much  for  the  com- 
posure of  the  technicians  that  they 
stood  their  ground  firmly  as  the 
leopard  stalked  In,  dragging  his 
trainer  behind.  But  when  the 
studio  lights  were  switched  on.  the 
overgrown  pussy-cat  rolled  over  on 
to  its  back,  and  literally  asked  for 
its  tummy  to  be  scratched!  Film- 
ing went  off  without  a  hitch  (which 
is    more    than    we    can    say   when 

dealing    with    highly    paid    human 

Incidentally,  the  Pic  cameramen 
can  probably  claim  to  be  the  most 
experienced  of  all  in  dealing  with 
wild  animals.  Among  the  inci- 
dents that  spring  to  mind  is  the 
time  that  .  .  .  Stan  Goozee  filmed 
at  the  flat  of  two  spinster  ladies 
who  kept  two  huge  crocodiles  in 
the  bath!  Another  is  when  Martin 
Rolfe  escaped  unscathed  after  film- 
ing a  fully  grown  "  tame  "  lion  in 
someone's  back  garden,  only  to  be 
bitten  next  day  by  a  tiny  bear  cub 
at  London  Zoo. 


d    3 

0   0 

I'll  say  it's  a   luxury  cinema — 

look    how    you    sink    into    the 


Talking  about  animals  reminds 
me  that  John  Parsons,  who  handles 
Casting  for  TV  Commercials, 
really  has  his  hands  full  these 
days.  And  besides  the  leopard  I 
mentioned  before,  there  seems  to 
have  been  a  heavy  demand  of  the 
domestic  sort — not  always  with 
gratifying  results.  For  example, 
iust  to  add  to  Eric  Fullilove's 
burden,  a  band  of  cats  was  booked 
for  a  cat  food  commercial.  For  a 
whole  day  they  fought  when  they 
should  have  purred,  and  purred 
when  they  should  have  fought, 
until  it  was  decided  to  make  a 
fresh  start  at  the  home  of  the  cats. 

Roy  H.  Lewis 

May  1958 



The  Laboratories  have  always  formed  the  hard  industrial  core  of  our  Union. 

The  article  which  appears  below  tells  the  history  of  some  of  the  earlier  struggles 

which  have  led  up  to  the  much  happier  circumstances  in  which  relations  between 

employers  and  employees  in  the  laboratories  stand  today. 

The  Laboratories' 

CILVER  JUBILEE!  The  strug- 
^  gles,  the  trials,  the  patience 
and  the  triumphs  that  have  punc- 
tuated our  progress  during  the 
past  twenty-five  years! 

Indeed,  the  Laboratory  Branch 
can  be  justly  proud  of  the  part  its 
members  played  in  forging  some 
of  our  history.  For  example, 
membership  had  just  topped  the 
750  mark  when  Laboratory 
workers  began  to  join  A.C.T. 
George  Elvin,  Ken  Gordon  and  Sid 
Cole  had  a  lot  to  do  with  this  early 
recruitment.  In  one  way  or 
another,  they  managed  to  meet 
laboratory  workers  and  gain  their 
interest  in  the  trade  union  move- 
ment. I  remember  Sid  Cole 
addressing  a  group  in  the  boiler 
house  at  Elstree  Laboratories 
during  one  lunch  hour  in  October 
1935,  where  the  boys  had  gathered 
out  of  the  cold  to  eat  their  sand- 

Hard  Core  of  Branch 

This  concentration  on  early 
Laboratory  recruitment  went  on 
from  August  until  December,  1935, 
and  during  that  period,  the  first 
80  members  were  accepted  and 
formed  the  hard  core  of  the 
Laboratory  Branch  which  now  has 
a  membership  of  nearly  3,000. 
Charles  Parkhouse,  now  Studio 
Manager  at  Carlton  Hill  Studios; 
Sid  Bailey,  Negative  Developer  at 
Stolls,  and  Cyril  J.  Philips,  now 
Managing  Director  of  Pathe 
Laboratories,  were  three  of  the 
first  members  to  join.  IncidentaUy, 
Cyril  Philips  was  the  first  chair- 
man of  the  Laboratory  Section; 
and  I  can  still  remember  him  com- 
fortably puffing  away  at  his  pipe 
whilst  presiding  over  meetings. 

From  Pathe  Laboratories,  Frank 
Fuller,  a  previous  Chairman  of 
the  Laboratory  Section,  a  Vice- 
President,  and  now  Treasurer  of 
the  Union,  also  joined  together 
with  Bill  Sharpe,  Joe  Bremson  and 
J.  Ritchie.  At  Elstree  Labora- 
tories, there  were  Steve  Cox  and 
Clifford  Boote,  both  editing  now, 
also  Bob  Bennett,  Reg  Marsh, 
Charlie  Holloway,  Sid  Twyman, 
A.  Taylor,  Eva  Howes,  Gwen 
Evans.    Ernie  Welch,   Arthur  Lee, 


M.  Ash,  who  is  now  the  manager 
of  Elstree  Laboratories,  and  Alf 
Cooper,  now  Vice-President  and 
Chairman  of  the  Laboratory 
Branch.  From  Gaumont  British 
Laboratories,  Shepherds  Bush, 
May    Dennington,    G.    Duff,    Albert 



Dyas,  Charles  Gunnel,  F.  C.  Oliver 
and  P.  Knight. 

The  Laboratory  members  were 
soon  operating  on  a  branch  basis. 
Those  earlier  years  were  spent  in 
preparing  a  draft  agreement  and 
building  up  the  membership.  The 
appalling  conditions  in  film  pro- 
cessing laboratories  helped  a  lot. 
There  were  about  fifteen  labora- 
tories all  paying  just  what  they 
liked  to  their  staff,  with  working 
conditions  fluctuating  widely  and 
no  employers'  organisation 

through  which  a  common  policy 
could  be  discussed.  Wages  were 
so  low  that  printers  could  be  got 
at  35/-  a  week.  In  such  a  setting 
it  was  inevitable  that  trade  union 
organisation  was  the  only  way  to 
set  about  forcing  improvements. 

Eventually,  the  Film  Group  of 
the  Federation  of  British  Indus- 
tries, though  precluded  by  their 
constitution  from  discussing 
labour  matters,  agreed  to  meet 
A.C.T.  We  stressed  the  need  for 
industrial  agreements  and  put  as 
priority  the  case  for  Laboratory 
Agreement.  We  must  have  made 
some  impression  for,  in  due  course, 
there  emerged  the  Film  Produc- 
tion Employers'  Federation  with 
studio  and  laboratory  sections. 

We  started  meeting  the  labora- 
tory group,  after  our  laboratory 
members,  following  innumerable 
meetings,  had  prepared  their  de- 
mands.     It    was    soon    obvious    the 

employers  had  no  intention  of 
making  real  progress.  The  Corona- 
tion of  King  George  VI  fortunately 
came  along  at  that  time  and  we 
decided  to  stop  the  industry.  The 
employers  gave  in  and  we  started 
off  on  the  difficult  job  of  negotiat- 
ing the  1939  laboratory  agreement. 

We  eventually  reached  agree- 
ment, then  the  employers  refused 
to  sign  until  the  studio  agreement, 
discussion  on  which  had  not  yet 
commenced,  had  been  completed. 
We  raised  hell  and  in  the  end,  on 
February  16th,  1939,  the  document 
was  signed.  This  was  a  landmark 
in  our  history.  It  was  the  first 
agreement  negotiated  with  any 
employers'  association  by  A.C.T. 
and  covered  fourteen  film  process- 
ing laboratories. 

To  give  some  idea  how  bad 
wages  and  conditions  were  at  that 
time,  wages  rates  as  low  as  £2  and 
£2  5s.  Od.  per  week  were  agreed 
and  represented  increases  for 
chose  members  concerned.  Fur- 
thermore, although  we  established 
the  principle  of  overtime  pay- 
ments, these  were  on  a  weekly  and 
not  a  guaranteed  daily  basis.  The 
principle  of  extra  payment  for 
night  work  was  also  agreed  but 
the  rate  was  only  an  extra  1/-  per 
shift.  On  the  other  hand,  two 
weeks'  holiday  with  pay  was 
agreed,  together  with  payments 
during  periods  of  sickness.  How- 
ever, the  most  important  points 
arising  from  these  negotiations 
were  that  we  did  achieve  Trade 
Union  recognition  and  signed  a 
National  Agreement  which  set  out 
minimum  rates  and  conditions  for 
film   laboratory  workers. 

Arbitration   Award   Number   758 

In  due  course,  we  sought  to 
terminate  this  agreement  and 
negotiate  a  better  one,  but  in  the 
meantime,  the  Employers'  Asso- 
ciation had  disbanded  and  although 
the  agreement  was  still  binding — 
thanks  to  the  fair  wages  clause 
which  Labour  M.P.s  and  Peers  had 
succeeded  in  having  incorporated 
in  the  Cinematograph  Films  Act, 
we     could     find     no     authoritative 

(Continued  on  page  272) 



May  1958 



body  with  whom  to  negotiate.  By 
then,  owing  to  the  war,  we  were 
also  wanting  a  cost  of  living 
bonus.  We  had  already  got  one 
for  studio  members  and  took  the 
employers  to  arbitration  to  seek 
a  similar  one  for  laboratory 
workers.  This  brought  the  em- 
ployers together  in  self-defence. 
We  got  the  bonus,  but,  what  was 
equally  important,  we  got  a  new 
Employers'    Federation. 

After  preliminary  delays  the 
two  negotiating  bodies  reached 
agreement  which  it  was  recom- 
mended, when  signed,  should 
operate  from  February  1st,  1945. 
The  main  body  of  the  employers, 
however,  refused  to  endorse  the 
work  of  their  committee  in  cer- 
tain vital  respects,  namely  half-a- 
dozen  or  so  wage  rates  and  the 
provisions  for  a  guaranteed  day 
with  payment  of  overtime  for  all 
hours  worked  before  8  a.m.  or 
after  7  p.m.  We  offered  to  refer 
the  two  outstanding  points  to  arbi- 
tration, but  if  the  employers  in- 
sisted in  their  obstinacy,  to  impose 
an  official  overtime  ban  in  every 
section  of  the   industry. 

Would  not   Budge 

The  employers  would  not  budge 
and  the  ban  came  into  operation 
on  May  4th,  1945.  The  only  ex- 
ceptions were  the  Kays  Group  of 
laboratories  who  were  outside  the 
Federation  and  readily  agreed  to 
sign  the  agreement  as  negotiated. 

One  company,  Humphries 
Laboratories,  attempted  to  break 
the  ban  by  dismissing  the  em- 
ployees who  refused  to  work  over- 
time. Twenty-five  members  were 
locked  out.  Those  remaining  at  the 
firm  were  the  only  A.C.T.  members 
who  ignored  the  overtime  ban  in- 
structions. Dispute  benefit  was 
paid  to  the  victimised  members 
and  the  rest  of  A.C.T.  imposed  a 
boycott  of  the  company.  They 
refused  to  handle  work  to  be  sent 
to  or  from  that  laboratory. 

Eventually,  the  dispute  was  re- 
ferred to  the  National  Arbitration 
Tribunal  which  awarded  com- 
pletely in  favour  of  the  Union 
retrospectively  to  February  1st, 
1945,  the  date  originally  agnni 
with  the  employers.  Meanwhile, 
the  pressure  on  Humphries  had 
been  felt  and  no  sooner  had  the 
award  come  to  hand  than  Mr.  Ter- 
raneau  agreed  to  reinstate  the 
locked-out  members,  pay  them 
bheir  wages  and  cost  of  living 
bonus  for  the  fourteen  weeks  of 
the    lockout    together   with    all    the 

increases  due  under  the  award. 
The  Arbitration  Award  provided 

1.  A  IfJf-hour  week  in  Newsreel 

2.  Overtime  payment  for  all 
hours  worked  before  8  a.m. 
dud   after  7   p.m. 

wage  packets  containing  wage  in- 
creases for  the  previous  six 
months  or  more. 

The  dispute  was  the  greatest 
trial  our  membership  had  gone 
through  to  that  date  and  we  came 
out  of  it  with  flying  colours.  For 
the     first     time,     the     laboratory 

In  the  case  of  an  Improver  who  returns  to  a  particular 
department  after  employment  in  some  other  department 
previous  service  in  that  particular  department  shall  be  taken 
into  full  account  in  computing  the  six  months  sen. ice  necessary 
for  promotion  to  a  graded  employee. 

In  the  csent  of  an  Improver  who  has  become  a  graded 
employee  but  has  not  served  his  full  three  years  service  as  an 
Improver  he  may  in  the  event  of  his  changing  his  emplovment, 
return  to  the  Improver  class  it  his  employment  is  in  a  different 
department  from  that  in  which  he  qualified  as  a  gr„ded 

the  ratio  "I  employment  of  Improvers  and  Newcomers  to 
Graded  Employees  shall  not  exceed  1  :  10  in  the  case  of 
Associates  employing  25  Graded  employees  or  more,  and  1  :  5 
in  the  case  of  Associates  employing  less  than  25  Graded 

For  and  mi  Kh.ilf  of 

Film   Production   Employers'   Fmh.katiok, 
(Signed)     R.   NORTON, 

Chairman  of  the  Executive  Committee. 

Member  of  the  Executive  Committee. 

Member  of  the  Executive  Committee. 

lion.   Secretary. 
Foi   and  on  behalf  of 

The  Association'  or  Cine-Technicians, 
(Signed)     ANTHONY  ASQUITH, 

H.   CRAIK. 

Chairman  of  the  Laboratory  Section. 

Member  of  the  Executive  Committee. 

General  Secretary. 


llic  Signature  Page  of  the  first  Laboratory  Agreement 

3.    Time   and   a    half   for    night- 
If.    E(jual   pail   fur  equal    work. 

5.  Rates  for  17  new  grades. 

6.  Wage  increases  ranging  from 
13/-  to  £2   tOs.  "</.   per  week. 

The  award  was  made  on  August 
9th,  1945,  which  meant  laboratory 
workers,  when  paid  out,  took  home 

workers  had  a  decent  wage  packet 
and  decent  working  conditions,  ob- 
tained solely  by  sticking  together 
as  members  of  a  trade  union  with 
the  help  of  their  fellow  members 
in  Studios,  Newsreels.  and  Shorts. 
I  am  sun'  everyone  would  wish  to 
pay  tribute  to  Eric  Pask,  the  shop 
steward  and  those  twenty-five 
members    who    held     the    fort    at 

May  1958 



Humphries  during  that  trying 
time  and  also  to  Frank  Fuller,  Les 
Pryor,  Sid  Bremson,  Charlie 
Wheeler  and  lastly,  but  not  least, 
to  George  Elvin,  who  led  the  above 
committee  throughout  the  whole 
of  the  negotiations. 

This  victory  was  followed  by 
some  years  of  peaceful  negotia- 
tion. On  December  4th,  1946,  an 
agreement  was  signed  which 
established  for  all  laboratory  cleri- 
cal workers  a  40-hour  week  to- 
gether with  wage  increases  and 
recognised  conditions  of  employ- 

On  December  7th,  1948,  Arbi- 
tration Award  No.  758  was  incor- 
porated in  an  agreement  with  the 
employers  whose  association  had 
now  changed  its  name  to  the  Film 
Laboratory  Association.  A  similar 
agreement  was  also  signed  with 

These  agreements  gave  further 
wage  increases  and  also  a  5-day, 
44-hour  week  to  laboratory  tech- 
nical workers.  The  Laboratories 
continued  to  prosper  but  cost  of 
living  rose  substantially.  A  further 
wage  increase  of  18/-  was  there- 
fore negotiated  and  incorporated 
in  new  agreements  dated 
July  20th,  1951. 

The   Great   Lookout 

In  October,  1953,  A.C.T.  asked 
for  a  revision  of  the  existing 
agreements  which  included  a  de- 
mand for  a  30/-  wage  increase. 
The  Film  Laboratory  Association 
rejected  the  application,  refused  to 
negotiate  and  pressed  that  the 
matter  be  referred  to  arbitration. 

A  mass  meeting  of  laboratory 
workers  held  on  Sunday,  January 
24th,  1954,  decided  to  impose  an 
overtime  ban  and  work  to  rule. 
There  followed  a  strike  of  29  mem- 
bers in  the  developing  department 
of  Technicolor  Laboratories  on  the 
threat  of  the  management  to  alter 
shifts  during  the  period  of  work- 
ing to  rule.  The  management  re- 
taliated by  locking  out  a  further 
134  members.  A  resolution  from 
a  mass  meeting  of  1,200  Techni- 
color members  led  to  a  meeting 
with  the  management  at  which  the 
company  withdrew  the  notices  and 
the  local  dispute  ended  on  Feb- 
ruary 19th,  1954. 

But  the  F.L.A.  still  refused  to 

In  effect,  they  wanted  A.C.T.  to 
agree  that  the  dispute  be  referred 
to  arbitration  as  an  alternative  to 
negotiation.  We  could  never  have 
accepted  such  a  proposal.  So 
working  to  rule  continued  and  was 
tightened  up  to  the  extent  that 
all  laboratory  members  broke  for 

lunch  together  and  the  principle  of 
one  man  one  job  and  one  man  one 
machine  was  strictly  enforced. 

On  March  9th,  1945,  the  F.L.A. 
advised  A.C.T.  that  as  from 
March  12th,  one  week's  notice 
would  be  given  to  all  laboratory 
employees,  other  than  those  re- 
quired for  care  and  maintenance 
work,  unless  the  Union  withdrew 
the  overtime  ban  and  instructions 
to  work  to  rule. 

Most  Eventful  Days 

A  mass  meeting  of  1,900  mem- 
bers was  held  on  Sunday, 
March  14th,  at  the  Gaumont  Ham- 
mersmith, at  which  a  resolution 
condemning  the  employers  for  re- 
fusing to  negotiate  and  threaten- 
ing a  lockout,  was  overwhelmingly 
carried,  together  with  a  pledge  of 
full  support  until  a  just  settlement 
of  the  Union  claims  had  been  met. 
The  lockout  took  effect  as  threat- 
ened and  the  maintenance  engin- 
eers came  out  on  strike  in  sym- 
pathy with  their  locked  out  fellow 
members.  The  whole  machinery 
of  the  Union  was  then  put  in  gear 
to  win  the  fight.  The  stoppage 
lasted  just  twelve  days,  which 
were  probably  the  most  eventful 
twelve  days  in  our  history. 

Committees  were  set  up  at  all 
laboratories  and  pickets  were  laid 
on.  Marches  were  organised,  in- 
cluding one  to  the  Waldorf  which 
paraded  outside  the  hotel  during 
a  Technicolor  shareholders'  meet- 
ing. Members  too  numerous  to 
mention  by  name,  who  had  always 
remained  in  the  background,  came 
forward  and  took  leading  roles  in 
the  conduct  of  the  dispute.  There 
was  a  comradeship  that  had  to  be 
seen  to  be  believed. 

In  an  effort  to  bring  further 
pressure  on  the  Union,  the  British 
Film  Producers'  Association  gave 
support  to  the  F.L.A.  and  threat- 
ened to  close  all  film  studios.  The 
Ministry  of  Labour  intervened  and 
after  meetings  with  both  sides,  set 
up  a  committee  of  investigation 
into  the  dispute  and  requested  that 
all  forms  of  pressure  be  lifted: 
that  is  the  lockout,  strike,  over- 
time ban  and  work-to-rule.  Both 
sides  were  urged  to  agree  to  a  re- 
sumption of  work  without  vic- 

The  F.L.A.  agreed  to  reinstate 
every  member  without  victimisa- 
tion and  a  mass  meeting  of  labora- 
tory members  accepted  the  pro- 
posals in  the  belief  that  such  a 
move  would  lead  to  a  resumption 
of  negotiations.  The  pressure 
from  both  sides  was  called  off,  the 
members  returned  to  work  and  as 
anticipated       discussions       recom- 

menced. After  four  joint  meet- 
ings, several  of  the  claims  origin- 
ally put  forward  were  settled,  i.e., 
30/-  of  the  cost  of  living  bonus 
was  consolidated  in  the  basic 
wages,  a  third  week's  holiday  after 
ten  years'  service  was  agreed,  a 
meal  allowance  for  transport 
drivers  approved  and  the  Union's 
claim  for  a  wage  increase  and  a 
40-hour  week  was  referred  to  arbi- 
tration with  two  arbitrators,  one 
nominated  by  each  party,  the 
parties  to  accept  any  award  made. 
The  award  of  the  arbitrators  on 
the  two  remaining  points  brought 
the  dispute  to  a  victorious  con- 

An  average  wage  increase  of 
9/-  per  week  was  awarded.  The 
hours  at  Technicolor  Laboratories 
were  reduced  from  45  to  44  with- 
out loss  of  earnings  and  the  arbi- 
trators recommended  that  both 
sides  consider  ways  and  means 
further  to  reduce  the  normal 
working  hours  over  a  period  with- 
out loss  of  output.  A  technical 
sub-committee  was  also  estab- 
lished, which  in  due  course 
approved  rates  for  a  number  of 
new  grades  including  that  of  Pro- 
duction Contact  man. 

Towards  the  end  of  1956  a  fur- 
ther wage  increase  of  11/-  payable 
to  all  laboratory  employees  was 
negotiated.  Provision  was  also 
made  for  payment  for  the  full  cost 
of  living  bonus  at  18  years  of  age. 

At  the  moment  of  writing, 
another  wage  claim  with  certain 
amendments  to  the  agreement, 
including  the  40-hour  week,  is 
under  consideration. 

We   Can   Be   Proud 

Looking  back  over  the  history 
of  our  Laboratory  Branch,  we  see 
in  miniature  the  story  of  the  Trade 
Union  Movement;  the  struggle  for 
recognition,  followed  by  estab- 
lished wages  and  conditions,  of 
rising  profits  and  rising  prices 
with  the  workers  fighting  to  main- 
tain their  standards  of  living  and, 
wherever  possible,  to  improve  that 
standard.  It  is  a  struggle  that 
will  go  on  far  into  the  future  with 
the  Trade  Union  Movement  ever 
watchful  to  see  that  some  of  the 
benefits  arising  from  changing 
techniques  and  automation  shall 
come  the  way  of  the  men  and 
women  on  the  job. 

A.C.T.T.  can  be  justly  proud  of 
its  Laboratory  members  who,  in 
turn,  are  proud  to  be  associated 
with  fellow  members  in  other 
sections  of  the  film  industry  who 
stood  by  them  and  supported  them 
in  time  of  stress.  It  is  indeed  a 
magnificent  history! 

274  FILM    &    TV    TECHNICIAN  May  1958 

Camera  Column  By  Morton  Lewis 


The  Wednesday  before  Good 
Friday,  Lewis  MacLeod  dropped 
into  my  office. 

"  Have  you  got  any  spare 
stock?  "  he  asked. 

This  was  a  rather  strange  open- 
ing for  anyone — Lewis  in  parti- 
cular. By  painful  cross-examina- 
tion I  discovered  that  he  was 
scouting  for  stock  on  behalf  of  the 
Films  and  TV  Committee  of  the 
A.C.T.T.  in  a  protest  against 
Nuclear  Weapons. 

Following  the  resolution  at  the 
A.G.M.,  the  Films  and  TV  Com- 
mittee had  been  established  to  give 
what  support  they  could  to  the 
campaign.  This  was,  on  this 
occasion,  to  take  the  form  of  film- 
ing the  Aldermaston  March  with 
an  eye  to  producing  a  documen- 

Got  His  Stock 

Lewis  got  his  stock,  plus  an 
Eyemo  and  an  Arriflex.  He  also 
got  me  and  three  other  members 
of  our  shop.  There  must  be  some- 
thing about  his  taciturn,  soft-sell 

From  all  round  the  Industry  the 
Committee,  led  by  Derrick  Knight, 
raised  a  Blimped  Arri,  with 
synchronous  tape  recorder,  New- 
mans, wild  Arri's,  stock,  techni- 
cians the  lot!  It  was  quite  a 
turn-out  and  quite  heartening  in 
an  Industry  that  is  often  accused 
of  being  mercenary  to  the  nth 

Good  Friday,  11.00  a.m.,  saw  the 
Sound  Unit  favourably  positioned 
on  the  plinth  of  Nelson's  Column, 
and  several  wild  cameras  shooting 
crowd  and  cover  shots.  The  March 
formed  up  and  moved  off  for 
Aldermaston,  after  short  speeches 
from  the  leaders  of  the  campaign. 

Standing  on  '  Keep  Left  '  bol- 
lards, hanging  out  of  the  backs  of 
camera  cars,  standing  on  soap 
boxes,  and  generally  infuriating 
the  police,  the  A.C.T.T.  camera 
crews    went    too! 

The  whole  four-day  march  was 
covered,  plus  a  solo  effort  by  a 
marcher  from  Southampton,  who 
marched  up  from  the  coast  en- 
tirely on  his  own,  handing  out 
leaflets  all  over  the  place. 

I  think  everybody  enjoyed  doing 
I  In    job,  and   the   rushes     all  18.000 

feet    of    them(!)    seem    to    justify 
the  whole  operation. 

Very  few  sequences  carry  any 
number  boards,  so  whoever  is 
going   to   break   down    the   rushes, 

hack,  Paul  Lecker,  Morton  Lewis, 
Lewis  Macleod,  Stephen  Peet, 
Brian  Probin,  Karel  Reisz,  Eda 
Segal,  Ramsey  Short,  Bill 
Smeaton  -  Russell,  Suschitsky, 
Terence      Twigg,      Harry      Woolf. 

Morton   Lewis  with   Directors  Lindsay  Anderson  and   Lawrie  Knight 

let  alone  cut  them,  has  some  nasty 
moments  coming  his  way. 

So  there  it  is,  18,000  feet,  in- 
cluding a  good  proportion  synch, 
interviews,  speeches,  etc.,  shot  in 
four  days  with  a  cast  of  thousands 
for  what  amounts  to  nothing! 
Whatever  the  outcome  of  the  pro- 
test, whether  we  get  blasted  into 
eternity  or  not,  I  think  the 
organisers  of  the  filming  and  the 
technicians  who  made  the  whole 
thing  possible  can  be  congratu- 
lated on  achieving  what  may  at 
first  have  looked  like  an  impossible 

I  think  that  all  the  Unit  should 
receive  credit,   so  here  goes: 

The   Generalissimo   was   Derrick 
Knight;   the  rest  of  the  Army  was 
as  follows: 
A.C.T.T.    MEMBERS  : 

Lindsay  Anderson,  John  Arnold, 
Kevin  Connor,  John  Cromc,  Derek 
Ford.  Penelope  Isaacs,  Lawrie 
Knight,  Peter  Jessop,  Kurt   Lewen- 

Derek  York,  Mannic  Yospa. 
Allan  Forbes,  Lew  Gardner,  Derek 
Hill,  Rex  Tasher,  Roger  Tully, 
Bernice  Nassamer,  together  with 
many  back-room  organisers,  secre- 
taries, etc. 


The    film    is    being    cut    by:    Terry 
Twigg  and  Mary  Beales. 

Lindsay  Anderson;  also  Charles 
Coplin,  a  Canadian  Newsreel 
Cameraman,  on  loan  from  an  ad- 
vertising agency,  who  ably  assisted 
me,  and  took  the  stills  to  prove 
that   I  was  there! 

A  Levers-Rich  was  donated  by 
Brian  G.  Salt,  many  cameras  and 
much  film  came  from  all  sections 
of  the  Industry,  and  the  Blimped 
Arriflex  was  hired  from  Sydney 
Samuelson.  Transport  and  petrol 
came  from — well,  your  guess  is  as 
good  as  mine! 
FOOTNOTE. — We    also    had    the    use 

May  1958 



of  a  Camera-Plane  donated  for  use 
on  one  of  the  days!  If  this  whole 
operation  had  been  a  commercially 
sponsored  venture  it  would  have 
cost  an  estimated  £3,000! 

Old  Days 

I  have  had  several  enquiries 
about  the  film  Mill  on  the  Floss, 
which  was  made  at  Shepperton 
Studios,  then  called  Sound  City. 
Most  of  the  enquiries  were  for  a 
list  of  Credits.  To  the  best  of  my 
knowledge,  the  film  was  shot  in 
1936.  It  was  produced  by  John 
Cline,  the  artistes  were  Frank 
Lawton,  Fay  Compton,  James 
Mason,  Geraldine  Fitzgerald,  to 
name  a  few.  It  was  directed  by 
Tim  Whealan,  1st  assistant  Phil 
Brandon,  I  forget  the  2nd  assis- 
tant, 3rd  assistant  Michael 
{Around  the  World  in  80  Days) 
Anderson.  John  Shimar  was  im- 
ported from  America  as  Lighting 
Cameraman,  Operator  Hone  Glen- 
denning,  1  pulled  focus,  then  went 
on  as  second  operator. 

As  for  the  rest  of  the  crew,  my 
mind  is  a  complete  blank.  Perhaps 
someone  has  a  better  memory  and 
would  be  good  enough  to  write  in. 


Our  congratulations  to  brother 
member,  script-writer  Donald  Ford 
on  his  being  re-elected  to  the 
London  County  Council  for  Lam- 
beth/Brixton,  with  a  tremendous 
majority.  Donald  Ford  is  also  a 
Parliamentary  Candidate,  in  a  con- 
stituency that  looks  like  a  good 
bet,  so  I  may  have  another  item 
after  the  General  Election. 

Congratulations,  too,  on  their 
election  to  the  L.C.C,  to  Organiser 
Fred  Tonge,  and  to  Lord  Faring- 
don,  who  for  many  years  has  been 
a  very  good  friend  to  A.C.T.T. 
whenever  film  matters  have  come 
up  in  the  House  of  Lords. 

A   Prize 

To  help  sell  our  Journal  and 
obtain  a  wider  distribution  to  our 
members,  I  am  going  to  propose 
that  a  competition  be  held  with  a 
prize  offered  to  the  member  who 
obtains  the  greatest  number  of 
subscriptions,  say,  during  the 
months  of  July,  August  and  Sep- 

I  shall  put  the  question  of  the 
prize  up  to  the  F.  &  G.P.  Com- 
mittee and  I  shall  suggest  that 
from  next  month  on  a  subscrip- 
tion form  be  inserted  in  the 
Journal.  If  each  reader  tried  to 
get  one  friend  each  month  to  sub- 
scribe this  Journal  would  really  be 
able  to  do  the  job  itnended  and 
perhaps  make  a  profit.  How  about 

Fred  Jacobs'  Golden  Jubilee 

Fred  Jacobs,  holder  of  A.C.T.T. 
card  number  136,  has  a  special 
reason  for  celebrating  the  silver 
anniversary  of  the  Union.  For 
him  it  is  a  golden  jubilee  year. 

"  Jake's  "  father  wanted  him  to 
join  him  in  the  music-engraving 
business.  But  Jake,  as  young  men 
are  wont  to  do,  thought  otherwise 
and  on  March  12th,  1908,  he 
joined  a  French  firm  of  manu- 
facturing agents  in  the  City  named 
R.  Prieur  &  Co.  The  firm  shortly 
afterwards  took  over  the  London 
agency  of  the  Lux  Film  Company 
and  opened  an  office  in  Gerrard 
Street.  Jake  was  thus  transferred 
to  the  new  office  to  become  a  pro- 
jectionist and  something  of  a  super 

Ruffells  and  Jury  were  the  big 
exhibitors  in  those  days,  and  after 
viewing  the  films,  they  would  buy 
copies  according  to  their  liking  at 
the  modest  sum  of  fourpence  a 
foot  outright !  Jake  sold  them 
two-reclers,  three-reelers  and  even 
an  epic  ten-reeler,  an  Italian  film 
entitled  Nero  and  Agrippina. 

His  First  Talkie 

From  1915  to  1918  Jake  was  in 
the  army  in  France,  serving  with 
the  Royal  Fusiliers  and  spending 
most  of  the  time  in  the  trenches. 
Returning  to  his  old  job  at  the  end 
of  the  war,  he  stayed  only  a  short 
while,  then  left  to  join  the  British 
and  Colonial  Kinematograph  Com- 
pany in  Endell  Street  as  an  Assis- 
tant Editor  on  features.  He  stayed 
there  until  1922. 

Then  came  a  spell  with  Ideal  at 
Boreham  Wood  as  assistant  to 
H.  W.  Kemplen,  Ralph  Kemplen's 
father.  It  was  with  Ideal  that 
Jake  handled  his  first  talkie,  doing 
a  small  job  of  re-editing  on  Rio 
Rita,  a  musical  starring  John 
Boles  and  Bebe  Daniels. 

In  1932  he  deserted  the  feature 
world  to  become  chief  cutter  for 
Pathe  News,  a  job  he  held  until 
1946,  when  he  moved  on  to  the  ill- 
fated  Metro  News,  which  ceased 
after  only  a  year.  It  was  at  Pathe 
that  Jake  acquired  his  nickname. 

From  1948  to  1950  Jake  worked 
as  a  freelance  on  both  features  and 
documentaries  for  various  British 
companies.  During  this  period  he 
returned  to  Pathe  for  a  short  time 
and  edited  several  advertising 
films  for  G.B.  Screen  Services,  as 
well   as   a   children's   feature    star- 

ring   the    teen-age    Jean    Simmons. 

The  next  five  years  until  May, 
1955,  he  spent  mainly  in  Paris  as 
Chief  of  the  Film  Department  for 
the  Productivity  Division  of  E.C.A., 
M.S. A.,  etc.  During  these  years  in 
Europe  working  for  the  Americans, 
Jake  visited  Belgium,  Germany, 
Holland,  Italy,  Denmark,  Norway 
and  Sweden. 

On  returning  to  England  he 
handled    all    the    material    for    the 

'resenlation    from    Genera]    Council 

film  taken  at  Geneva  for  the 
United  Nations,  on  the  Peaceful 
Uses  of  Atomic  Energy. 

It  was  a  fitting  development  to 
Jake's  varied  career  when  tele- 
vision claimed  him.  He  spent  six 
months  with  Associated  Re- 
diffusion  to  complete  a  series  of 
children's  TV  films  entitled  Colonel 
Crock  and  another  six  months  with 
the  BBC  news  and  newsreel  depart- 
ment at  Alexandra  Palace.  To 
complete  the  record,  Jake  has  been 
working  with  British  Transport 
Films  for  the  last  year. 

It  is  easier  to  record  a  career 
than  to  sum  up  a  personality.  His 
fifty  years  in  the  film  industry 
seem  to  have  left  no  mark  of 
physical  strain  on  Jake.  Perhaps 
his  youthful  appearance  and 
agility  —  he  travels  up  from 
Brighton  daily  —  are  due  to  his 
calm,  unruffled  temperament.  Or 
perhaps  being  the  eldest  of  a  large 
family  made  him  specially  self- 

Jake's  golden  jubilee  was 
marked  by  two  presentations,  one 
made  by  Edgar  Anstey  on  behalf 
of  his  colleagues  at  British  Trans- 
port Films,  and  the  other,  which 
was  a  cheque  from  the  General 
Council  of  A.C.T.T.,  by  George 



May  1958 


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25mm.  Series  2.  Single  shot,  electric 
motor,  Cinemascope  adapted,  as 

Newman-Sinclair  Model  N.  (Mirror- 
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Angineux  Retrofocus. 
Newman-Sinclair  Model  G.  All 
Cooke  lenses,  Single  shot,  electric 
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ANGLE  lens,  for  Arriflex,  Cameflex, 
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first  instance.  Salary,  including  Inducement  Addition,  in  scale 
£1,728  rising  to  £1,962  a  year.  Commencing  salary  according  to 
experience.  Outfit  Allowance  where  applicable  £60  on  first  appoint- 
ment. Gratuity  at  rate  of  £150  a  year.  Free  passages  for  officer 
and  wife.  Assistance  towards  children's  passages  and  grant  up  to 
£150  annually  for  maintenance  of  children  in  U.K.  Liberal  leave  on 
full  salary.  Candidates  must  have  had  at  least  5  years'  experience 
of  film  production,  preferably  with  a  reputable  documentary  film 
company  and  be  capable  of  training  Nigerian  personnel.  A  know- 
ledge of  filming  under  tropical  conditions  would  be  an  advantage. 
Write  to  the  Crown  Agents,  4  Millbank,  London,  S.W.I.  State  age, 
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May  1958 



Lab  Topics 


Following  discussions  between 
the  F.L.A.  and  A.C.T.T.  Negotiat- 
ing Committees  it  is  found  that 
both  sides  are  genuinely  interested 
in  the  problem  of  maintaining 
complete  freedom  from  Dermatitis 
among  Laboratory  employees.  It 
is  very  encouraging  to  know  that 
the  employers  have  given  this  item 
a   lot  of  deep   thought. 

This  particular  disease  happens 
to  be  one  in  which  it  appears  that 
the  medical  profession  is  very 
divided  as  to  the  best  methods  of 
protecting  persons  exposed  to  the 
known  hazards  and  sources  of  con- 
tagion. It  is  thus  very  difficult  to 
lay  down  absolutely  water-tight 
methods  of  safety  for  everybody. 
Here  let  me  stress  that  all  persons 
with  any  knowledge  of  this  com- 
plaint are  agreed  that  operators 
cannot  wash  too  well  or  too  often 
with  good  soap  and  clean  water 
during  their  working  hours. 

Asked  to  Report 

In  line  with  the  above,  it  is 
agreed  that  the  Senior  Medical 
Inspector  of  Factories  be  asked  to 
look  at  the  measures  of  protection 
used  in  the  three  major  colour 
laboratories,  in  company  with  the 
Union  Medical  Officer  and  the 
medical  officer  of  the  company  con- 
cerned, with  a  view  to  submitting 
a  report  for  the  benefit  of  both 

One  member  at  Denham  Labora- 
tories, as  reported  by  Cyril  Sparres 
at  the  end  of  these  "  Topics  ", 
having  contacted  Dermatitis,  has 
been  receiving  full  pay  during  his 
absence  and  at  the  same  time  will 
not  lose  his  rights  to  normal  sick- 
ness benefit  as  provided  for  by  our 
Agreement.  That  is  very  much  in 
line  with  the  requirements  of  the 
Laboratories  section. 

At  the  Laboratories  shop 
stewards'  committee  meeting  held 
on  Monday,  March  17th,  being  the 
first  meeting  after  the  A.G.M., 
Miss  Daphne  Le  Brun,  our  Secre- 
tary, was  re-elected  for,  I  believe, 
her  fourth  term  of  office.  George 
irons  is  again  Vice-Chairman,  with 
myself  Chairman.  George,  as  we 
all  know,  has  been  on  the  Lab. 
Committee  for  very  many  years 
and     as     this     year     is     A.C.T.T.'s 

Silver  Jubilee,  members  such  as  he 
are  well  able  to  think  back  over 
the  years  with  a  feeling  of  great 
pride  when  they  realise  that  all 
their     time     and    effort     spent    on 

■Edited  By 


behalf  of  the  Union  has  played  a 
major  part  in  making  our  organis- 
ation the  success  it  is. 

Bert  Craik,  our  Senior  Organiser, 
is  writing  at  some  length  else- 
where in  this  issue,  about  the 
Union's  25  years  of  life  and  I  have 
no  doubt  in  my  mind  that  being 
Bert  he  will  really  soft  pedal  the 
enormous  contribution  which  he 
himself  has  made  to  this  success, 
not  only  as  a  full-time  organiser 
but  as  a  laboratory  employee  work- 
ing on  the  various  committees 
within   A.C.T.T.    in   its   early   days. 

Charley  Sparkes,  the  Den.  Labs, 
night  steward  has,  unfortunately, 
been  ill  during  the  last  couple  of 
weeks.  I  understand  he  has  been 
ordered  by  his  doctor  to  take 
things  a  little  easier  for  a  short 
while.  We  all  hope  that  he  will 
soon  be  quite  fit;  in  the  meantime, 
Bob  Harding  will  carry  on  the 
job  of  Journal  Reporter  for  his 
colleagues.  Many  thanks  Charley 
for  your  contributions. 

KAY'S    LABORATORIES    report  : 

Just  a  short  while  ago,  four 
members  of  Kay's  staff  were 
having  their  tea-break,  and  their 
conversation  worked  round  to  the 
old  favourite  question  "  How  long 
have  you  been  here?  " — and  much 
later  in  the  day,  after  a  little 
thought  on  this  question,  it  really 
strikes  one  that  Time  awaits  no 
man,  and  the  years  roll  by,  and 
before  you  know  where  you  are — 
you  have  become  one  of  the  Elite 
of  Old  Timers. 

Take  for  example  Sam  Williams, 
chargehand  developer  of  the  nega- 
tive and  positive  departments.  He 
was  a  "  brand  new  boy  "  way  back 

in  1921,  and  now  has  a  steady  37 
years  behind  him.  Believe  it  or 
not,  he  was  engaged  on  a  pro- 
bationary period  and  tells  us  he 
hopes  to  be  permanently  engaged 
on  the  job  in  the  near  future,  as  he 
never  was  informed  that  he  could 
keep  at  his  work  for  the  next  37 
odd  years. 

On  the  "  Dry  Side  "  of  the 
Laboratory,  and  into  the  Grading 
Department,  we  have  H.  Wall- 
bank,  with  a  score  of  29  years,  and 
with  him  Luke  Slow  (he  even 
remembered  the  date,  August  6th, 
1927),  a  very  steady  31  years! 
Also  on  the  same  job  is  Eric 
Edwards  with  26  years.  Turning 
from  Grading  to  Printing,  one 
finds  Sid  Cooper,  Foreman  Printer, 
who  has  had  his  finger  on  most  of 
the  printing  projects  which  have 
developed  at  Kay's  and  he  is  now 
"  printing  out  "   his   thirtieth  year. 

Bert  Maskel,  of  the  Sensito- 
metric  Department,  is  reading  a 
steady  26,  and  along  with  him 
(just  those  few  years  ago)  four 
other  "  youngsters  "  came  through 
the  front  entrance  of  the  firm,  Les 
Webb  and  Les  Morris  of  the  16mm. 
Printing  Departments,  Bill  Jackson 
and  Frank  Lawman  of  the  Nega- 
tive Developing,  making  up  the 

On  the  Colour  Side  of  the  job, 
Bill  Gorgen  and  L.  Andrews  of  the 
Colour  Developing,  both  share  a 
round  31  years,  and  in  the  Printing 
Room  of  the  Colour  Department 
Jim  Mann  boasts  of  27  years. 

Not  forgetting  the  female  ele- 
ment of  Kay's,  we  have  Miss 
Emmie  Porter,  who  casually  men- 
tions 32  years  (Negative  Cutting 
Room)  and,  in  the  same  depart- 
ment, Miss  Nora  Edwards  and 
Miss  Ann  Nichols  score  just  over 
twenty  years  each.  Quite  a 
number  of  the  staff  not  mentioned 
here,  range  between  15  and  20 
years'  service,  so  to  close  this 
"  Service  line  shoot "  just  one 
word  to  the  youngsters  now  join- 
ing the  trade,  "  keep  at  it — time 
soon     goes     by  ". 

C.  Sparkes  of  DEN.  LABS  writes  : 
I    am    sorry    to   have    to    report 

( Continued  on  'par/e  280 ) 


Start  savins- 


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May  1958 

Lab  Topics 


that  once  again  that  old  enemy 
Dermatitis  has  reared  its  ugly 
head  in  the  Labs,  although  we  at 
Denham  are  very  happy  at  the  co- 
operation of  the  management  in 
this  particular  case.  The  member 
concerned  is  not  losing  financially. 
So  it  seems  that  at  least  one  case 
of  Dermatitis  is  successfully 

On  the  Social  side,  it  was  un- 
fortunate I  was  too  late  to  report 
in  the  last  issue  that  Denham 
Social  Club  started  a  Club  Night 
on  Wednesday  evenings  at  The 
Vine,  Hillingdon.  The  opening  co- 
incided with  the  Labs  Darts  final 
between  the  Night  Staff  and  the 
16mm.  Department,  which  resulted 
in  a  win  for  the  Night  Staff. 

TECHNICOLOR   reports  : 

The  report  from  this  Laboratory 
is  one  which  no  individual  or 
organisation  ever  wants  to  give. 
During  the  first  week  of  April  we 
unfortunately  lost  two  members 
who  had  been  with  us — one  seven 
years  and  the  other  thirteen  years. 

Bros.  Fred  Chadwick  and  Cyril 
Harris  died  within  two  days  of  one 
another — Fred  a  member  of  the 
Shipping  Department  and  Cyril  a 
member  of  the  Security  Section. 
Our  sympathy  goes  to  all  their 
dependents  at  this  time.  Both 
these  men  were  liked  and  respected 
by  all  who  came  into  contact  with 
them  in  the  Laboratory. 

Talking  Point 


I  spotted  quite  a  number  of  our 
members  of  the  fringes  of  the  vast 
crowd  that  went  to  Trafalgar 
Square  the  other  Sunday  after- 
noon for  the  joint  Labour  Party- 
Trades  Union  Congress  demon- 
stration, calling  for  the  suspension 
of    nuclear    tests. 

It  was  good  that  they  had  res- 
ponded to  the  Executive's  call  to 
back  this  grand  rally,  but  how 
could  outsiders  know  of  our  sup- 
port? Engineers,  printers,  super- 
visory technicians  and  lots  of 
others  advertised  their  presence 
with  banners,  so  why  shouldn't  we 
have  an  official  banner  for  such 
occasions?  The  designs  of  those 
belonging  to  Unions  older  than 
our  modest  quarter  century  were 
richly  embroidered,  and  in  their 
old-fashioned  designs  there 

breathes  the  long  traditions  of 
their  founders  and  the  pioneers  of 
British  trades  unionism. 

1  think  it  would  be  presump- 
tuous to  imitate  that  style  for  our 
banner,  and  personally  I  dislike 
the  stark  contemporary  fashion 
with  words  only  to  it.  Long  before 
films  and  TV  became  mass  media, 
there  was  a  very  true  advertising 
slogan,  "  Every  Picture  Tells  a 
Story  ",  so  why  not  some  illustra- 
tion on  our  banner?  What  ideas 
have  you  got  for  a  design? 



LABORATORY  SUPERINTENDENT  (Film  Processing)  required 
by  Federal  Government  of  Nigeria  for  Film  Production  Unit,  Infor- 
mation Service,  on  contract  for  18/24  months  in  first  instance. 
Salary  according  to  experience  in  scale  (including  inducement  addi- 
tion) £1,170,  rising  to  £1,488  a  year.  Gratuity  at  rate  £150  a  year. 
Outfit  Allowance  £60.  Liberal  leave  on  full  salary.  Free  passages 
for  officer  and  wife.  Grant  up  to  £150  annually  for  maintenance  of 
children  in  U.K.  Free  passages  for  children  up  to  cost  of  two  adult 
return  fares.  (It  is  thus  often  possible  for  an  officer  whose  children 
are  being,  educated  in  the  U.K.  to  arrange  for  them  to  spend  two 
or  more  school  vacations  in  West  Africa  with  free  passages). 
Candidates  must  have  a  thorough  knowledge  oi  all  aspects  "i  cine 
film  processing  both  16mm.  and  85mm.,  including  negative  cutting 
experience.  The  officer  will  be  required  to  work  with  and  take  over, 
is  required,  from  the  officer  in  charge  of  the  laboratories.  Write 
to  the  Crown  Agents,  4  Millbank,  London,  S.W.I.  State  age,  name 
in  block  letters,  full  qualifications  and  experience  and  quote 

Shorts  &  Documentary 

STEVE    COX    \V  KITES  : 

Since  the  Journal  last  went  to 
press,  four  meetings  have  been 
held  directly  concerning  members 
of  our  Section. 

The  major  meeting  was,  of 
course,  the  Shorts  A.G.M.,  held  at 
Mezzanine  Theatre,  Shell  Mex 
House  on  March  25th.  A  very  well 
attended  gathering  elected  the 
following  to  hold  office  for  the 
next  twelve  months  :  Chairman — 
Max  Anderson;  Vice-Chairman — 
Chris  Brunei;  Secretary — Steve 
Cox;  Committee  Members — Eric 
Pask,  Lindsay  Anderson,  Gloria 
Sacks,  Roy  Pace,  Joe  Telford, 
Dennis  Segaller,  Derrick  Knight, 
Elmer  Cossey  and  Johnny  Long- 

Chris  Brunei  unfortunately,  for 
reasons  many  members  may  know, 
asked  the  Committee  to  accept  his 
resignation.  This  the  Committee 
did  with  regret,  and  conforming  to 
rule  Eric  Pask  who  received  the 
next  highest  number  of  votes,  was 
asked  to  accept  office  as  Vice- 
Chairman  and  Phil  Dennis,  the 
next  on  the  list  of  nominees,  was 
asked  to  complete  the  number  of 
Committee    Members. 

After  the  business  of  the  meet- 
ing we  had  a  showing  of  films, 
namely:  Holiday,  Worming  of 
Metals,  a  cartoon,  Two  by  Two, 
and  a  series  of  commercials  made 
by  TV  Cartoons. 

Now  for  the  other  meetings. 
Our  film  show  at  Crown,  on  March 
13th,  was  a  really  full  house  with 
"  standing  room"  only.  The  films 
shown  were:  Mak<  your  Money 
Grow,  Earth  is  a  Battlefield,  and 
some  Shell  Advertising  Filmlets. 
Lindsay  Anderson  was  in  the 

At  the  .-a  me  rendezvous  on 
April  10th  there  was  a  well 
attended  film  show  at  which  we 
saw  Tht  ri  was  a  Door  and  the 
A.C.T.  Films  Second  Fiddle— the 
latter  was  a  break  from  the  usual 
films  shown  at  these  "  do's ",  but 
it  evoked  a  lively  and  interesting 
discussion.  Eric  Pask  was  our 
Chairman  for  this  evening. 

The  other  meeting  was  the 
speeial  meeting,  held  on  April  1st 
to  discuss  "  Social  Documentary  ". 
unfortunately  I  could  no1  attend 
but  i  understand  a  Committee  was 
elected  to  go  into  the  "  pro's  and 
eons  ".  I  hope  to  give  greater 
details  at  a  later  date. 

May  1958 





Director  of  Photography   HAPPY  IS  THE  BRIDE 


Are  you  happy,  too,  Mr.  Scaife? 

Why  shouldn't  I  be?    Remember,  I 

was  using  Ilford  FP3  stock. 
Do  you  mind  giving  us  your  reasons? 

Not  a  bit — though  you've  heard  it  before 

Good  tone  separation. 

Good  contrasts. 

And  FP3  is 

specially  good  for 

high  key  work.    Have 

I  said  enough? 
What  more  could  you  say? 

Just  that  I  like 

using  Ilford  FP3. 



104  HIGH  H0LB0RN 


Telephone :  HOLborn  3401 



May  1958 



with  automatic  colour  masking  and  silver  sound  track.    For 

direct   reduction   from   35mm.   negatives,   or   by    means   of  16mm. 
internegatives,  for  prints  from  16mm.  or  35mm.  positives. 


for    16mm.   contact   prints,  and   for  direct   reduction   from   35mm. 

5716    8935 

The  only  independent 
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May  1958  FILM    &    TV    TECHNICIAN  28c 

Congratulations   &   Good    Wishes 




on  tnen 

Twenty-fifth   Anniversary 


Head  Office 
£4  GREEK   STREET,   W.i 

Tel.  Gerrard  4226 

FILM    HOUSE,    142   WARDOUR   STREET,   W.i 

Tel.  Gerrard  6461 



May  1958 



on  the  completion 

of  twenty-five  years7  service 

to  the  Industry 

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May  1958 









IT'S  A 











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L'si;  FILM    &    TV    TECHNICIAN                                               May  1958 


H  D 

H  D 

□  a 

a  n 

a  a 

a  a 

a  a 

□  □ 

D  □ 

g  The  Film  Producers  Guild                       g 

n  a 

a  congratulates  the                               a 

a  a 

§  A- C- T- T                       § 

n  a 

a  a 

g  on  their  25th  anniversary                       g 

a  n 

a  □ 

□  and  looks  forward  to  □ 
a  □ 

□  □ 

g  many  more  ijears                              g 

a  a 

□  a 
g  of  happij  co-operation                          g 

□  □ 

d  □ 

a  □ 

n  a 

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g  THE    FILM    PRODUCERS   GUILD    LTD                                 g 

q  Guild  House.  Upper  St.  Martin's  Lane.  U/.C.2                                      j-j 

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May  1958  FILM    &    TV    TECHNICIAN  287 

to  the  A.C.T.T.  on  reaching 

its  quarter  century 

and  sincere  good  wishes  to 

ail  members  of  the  A.C.T.  T. 


Specialists  in  processing 
35   &    16m. m.   COLOUR  and    BLACK   and   WHITE 



May  1958 

Associated  British  Elstrce  Studios  is  one  of  the  most  modern  and  best- 
equipped  in  Europe.  The  home  of  Associated  British  pictures  and  many 
international  successes,  the  studio  stands  on  a  28.1  acre  lot;  has  five  large 
sound  stages  (one  over  a  special  effects  water  tank);  dubbing  theatre;  re- 
cording theatre;  and  includes  plaster  room;  carpenter's  shop;  stills  studio 
and  photographic  department;  two  mammoth  water  tanks,  one  with  a  sky- 
backing  of  240  ft.  x  70  ft.,  and  a  capacity  of  1. 000.000  gallons,  adjoined  by  a 
reserve  tank  with  an  increased  capacity  of  25  per  cent. 


and  the  Short  of  it ! 

The  best  products  deserve  the  best 
presentation:  Associated  British-Pathe 
long  experienced  in  short  film  produc- 
tion, have  now  produced many  hundreds 
of  TV  commercials  for  leading  adver- 
tising agencies.  The)  otter  the  most 
complete  TV  commercials  service  in 
Britain,  including  studios;  compre- 
hensive equipment :  mobile  units,  and 
complete  laboratoi  ies 

Associated   British-Pathe   Ltd 

TV  Production: 

133  Oxford  Street,    H   I 

Pathe  Laboratories  experts  in  35mm. 
and  1 6mm.  processing,  and  produc- 
tion for  specialised  films  and  Tele- 
vision films,  otter  the  most  up-to-date 
facilities  for  negative  developing : 
sound  recording;  blow-ups;  reduction 
printing:  cutting;  titling;  optical 
priming  and  Kodachrome  reduction 
with  masking.  In  evei  i  aspect  oj  short 
film  production.  Pathe  leads  the  field. 

Pathe  Laboratories  Limited 

Laboratoi  ies   Di\  ision: 
103-109  W  ardour  Street.  H  .1 

Mav  1958 



5'  EALING  y 

5;  /tiffin  ;; 

Makers  of 


Chiurinnn   and 

Managing  Direclor 


In   chorgp  of 



290  FILM    &    IV    TECHNICIAN  May  1958 

71        /     / 

/Dirikday    -  Jrcclmos 

to  th< 


on  its 

2^1 1 1     .  '  inniversary 




Chertsey  2611 


R    TO 



■d  .is  the 
hnical  asset 






TECHNICOLOR   LIMITED    Dr.  Herbert  T.  Kalmus,  Chairman 



May  1958 


Black  &  White  or  Colour      -^ 

Full  Service 
One  Source 


For  ONE  or  ALL  of  these 
Services-Phone   hunter  0408 


16  mm  COLOUR  FILM 



Published  by   the  Proprietors,  The  Association  of  Cinematograph,  Television  and  allied  Technicians,   2  Soho 
Square,   London,  and  Printed  by  Watford  Printers  Limited,  Watford,  Herts.